This essay critically examines the view recently set forth by Paul Guyer that Kant's theories of artistic beauty and artistic creativity exclusively coincide with this theory of natural beauty. I note that very great works of art, although they may indeed be beautiful, also tend to be sublime. To acknowledge the sense of awe which attends those great works of art which are also beautiful, I argue that Kant's theory of sublimity must also be included within an accurate interpretation of Kant's account of artistic beauty, and maintain that Guyer's exclusive reference to Kant's theory of natural beauty will not suffice
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DOI 10.2307/431548
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Crowther and the Kantian Sublime in Art.C. E. Emmer - 2008 - In Valerio Rohden, Ricardo R. Terra & Guido A. de Almeida (eds.), Recht und Frieden in der Philosophie Kants, Akten des X. Internationalen Kant-Kongresses. Walter de Gruyter.
Kant, Celmins and Art After the End of Art.Sandra Shapshay - 2020 - Con-Textos Kantianos 1 (12):209-225.

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