Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 54
Stran 2
... Art Object Both Bell and Fry regard the concrete work of art as the essential object of aesthetic analysis . And yet they begin their inquiries with what they consider to be a fact about their appreciation of art . " The starting ...
... Art Object Both Bell and Fry regard the concrete work of art as the essential object of aesthetic analysis . And yet they begin their inquiries with what they consider to be a fact about their appreciation of art . " The starting ...
Stran 45
... object " of the work . Some examples will make clear our terminology . Consider , to begin with , Cézanne's " Mont Sainte - Victoire . " The subject is the lines and colors that constitute certain volumes within the art object which ...
... object " of the work . Some examples will make clear our terminology . Consider , to begin with , Cézanne's " Mont Sainte - Victoire . " The subject is the lines and colors that constitute certain volumes within the art object which ...
Stran 178
... art.20 Some supporting evidence can be found for each of these theories but ... art ; but none of them can be said to be an established scientific theory in the ... object ? In order to answer this , Ducasse insists , we must first of all ...
... art.20 Some supporting evidence can be found for each of these theories but ... art ; but none of them can be said to be an established scientific theory in the ... object ? In order to answer this , Ducasse insists , we must first of all ...
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A. C. Bradley abstract abstract art accept aesthetic experience aesthetic theory aestheticians analysis appreciation of art art object assertions attitude basic believe Bell and Fry Bell's Bertrand Russell Cézanne Cézanne's chap character characteristics Cleanth Brooks Clive Bell communication complex conception constituents contemplation criticism Cubism depth meanings Desdemona desire doctrine dramatic Ducasse Ducasse's El Greco Emilia emotionalist evaluation example expressive qualities fact Fascism feelings form and content formalism Fry's function Hanslick human experience I. A. Richards Ibid iconic ideas imaginative indulgence interpret italics in original John Hospers kind language line and color literature medium modern motion picture nature novel ordinary organic theory painting Parker Philosophy plastic elements poem poetry problem Prufrock psychological pure purism question rejected relation representation Richards Roger Fry satisfaction semantical sense significant form specific spectator symbolic art T. S. Eliot theme theory of appreciation thing tion transparent symbol values whole