In this paper we investigate the Freudian notion of sublimation, as well as its use as an explicative mechanism for artistic processes. We'll note that, due to its construction, by the way confuse and poor in conceptual formalization, it is impossible to separate sublimation from the clinical field where it was born and where it finds its potency. Thus, we propose a demarcation to any "metapsychology of the art" as a clinical instrument, rather then an instrument for the analysis or the critics of the art. Nevertheless, we shall notice the reciprocal influence between psychoanalysis and the aesthetics of its time.
sublimation; art; psychoanalysis; clinic; culture