Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 35
Stran 14
... becomes almost puritanical in that all color and decorative qualities of line are repudiated.33 Throughout these three periods , it is important to see , Fry main- tains what he construes to be a formalistic theory of the art object ...
... becomes almost puritanical in that all color and decorative qualities of line are repudiated.33 Throughout these three periods , it is important to see , Fry main- tains what he construes to be a formalistic theory of the art object ...
Stran 89
... become as transparent in our culture as the " fish symbol " has been in Chris- tian culture . There is , after all , no a priori reason why a soft line cannot become a culturally fixed symbol of the unconscious . ( 2 ) The Spanish ...
... become as transparent in our culture as the " fish symbol " has been in Chris- tian culture . There is , after all , no a priori reason why a soft line cannot become a culturally fixed symbol of the unconscious . ( 2 ) The Spanish ...
Stran 127
... becomes interesting only when it assumes certain rhyth- mic effects ; and when this occurs , the picture becomes an imita- tion of the dance , and no longer an unique art , which is what Deren wishes it to be . In Cocteau , especially ...
... becomes interesting only when it assumes certain rhyth- mic effects ; and when this occurs , the picture becomes an imita- tion of the dance , and no longer an unique art , which is what Deren wishes it to be . In Cocteau , especially ...
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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