Abstract
Between proximities and distances, the landscape feeling (stimmung) is the result of a long debate about the final rationality of the world. The latent conflict between reason and emotion leads Kant to admit the possibility of apprehending nature beyond the sensitive. Sulzer and Herder align with caveats in this direction, recognizing the existence of pleasure or excitement caused by external interaction. Carus, from there, refers directly to the landscape feeling, supported by cross-influences of Goethe and Humboldt. This article intends to follow this path of conceptual elaboration, recognizing that painting has the ability to arouse, in Carus, the stimulus for the sensitive apprehension of the world.
landscape; feeling; nature; Humboldt; Carus