This article presents a reading of a selection of paintings by Philip Badenhorst (1957-) made during
2007 for the solo exhibition titled A circle had closed; and another had opened again. I briefly revisit
the development of his visual language since 2003 to indicate consistencies and shifts in his approach.
Relevant tenets of the theory of the Romantic sublime as defined by Burke in 1757 and Kant in 1764
are introduced and then applied in an exploration of elements of specific works by Badenhorst. Focussing
on his landscapes and figures, parallels are drawn between Badenhorst's contemporary vision
and 18th century aesthetics to make evident that his works have strong ties with this specific tradition,
yet to indicate that as a contemporary artist his work departs from the paradigms of Romanticism to
arrive at a postmodern sublime. The similarities and differences between Badenhorst's iconic images
created through intuitive painterly mark and the influence of the Romantic painters are highlighted to
reveal new associations, which contribute to a wider understanding of Badenhorst's oeuvre. I suggest
that the artist presents a South African contemporary sublime. This particular analysis of the theory of
sublime-aesthetics has not previously been applied to Badenhorst's work.
DIE SUBLIEME ONRUS IN ONLANGSE SKILDERYE DEUR PHILIP BADENHORST.
Hierdie artikel bied 'n interpretasie van geselekteerde skilderye deur Philip Badenhorst (1957-) aan
wat gemaak was tydens 2007 vir die solo tentoonstelling getiteld 'n Sirkel het gesluit; en 'n ander
het weer oopgegaan. Ek heroorweeg die ontwikkellling van sy visuele taalgebruik sedert 2003 om
ooreenkomste en verskuiwings in sy benadering uit te wys. Toepaslike beginsels van die teorie van die
Romantiek se sublieme soos gedefmieer deur Burke in 1757 en Kant in 1764 word ingelei en toegepas
word op aspekte van spesifieke werke van Badenhorst. Terwyl daar gefokus word op landskappe en
figure, word 'n parallel getrek tussen Badenhorst se hedendaagse visie en 18e eeuse estetiek om sterk
bande met die tradisie aan te dui, maar om uit te wys dat as kontemporere kunstenaar sy werk af wyk
van sienswyses van die Romantisisme deur 'n postmoderne sublieme te verbeeld. Die ooreenkomste
en verskille tussen Badenhorst se ikoniese beelde geskep deur intuitiewe skildermerke en die Romantiese
skilders word onder die kollig geplaas om nuwe verwantskappe uit te lig, en sodoende by te dra
tot 'n breer insig van Badenhorst se oeuvre. Hierdie spesifieke analise van die subliem-estetiek is nog
nie voorheen toegepas op Badenhorst se werk nie.
