Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 45
Stran 12
... artistic creation , art objects , and art appreciation can be classified in one of these two ways . Fry has expressed clearly the difference between the imaginative and the instinctual , so far as the artist is concerned , in his ...
... artistic creation , art objects , and art appreciation can be classified in one of these two ways . Fry has expressed clearly the difference between the imaginative and the instinctual , so far as the artist is concerned , in his ...
Stran 13
... artistic creation to be the communication of man's instinctual biological life in so far as his experiences reduce to certain plastic elements , like line , color , rhythm , mass , space , light and shade . These the artist pre- sents ...
... artistic creation to be the communication of man's instinctual biological life in so far as his experiences reduce to certain plastic elements , like line , color , rhythm , mass , space , light and shade . These the artist pre- sents ...
Stran 62
... artistic expression . Rather , it destroys the props of traditional limitations , and asks only that artistic com- munication be an expressively integrated one . It refuses to rule out the nonplastic spiritual values for the very simple ...
... artistic expression . Rather , it destroys the props of traditional limitations , and asks only that artistic com- munication be an expressively integrated one . It refuses to rule out the nonplastic spiritual values for the very simple ...
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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