Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 26
Stran 14
... conception . The paint- ings of the Post - Impressionists , especially of Cézanne , are singled out as the creative realization of these aesthetic principles . In their work , Fry submits , we find the conscious repudiation of the ...
... conception . The paint- ings of the Post - Impressionists , especially of Cézanne , are singled out as the creative realization of these aesthetic principles . In their work , Fry submits , we find the conscious repudiation of the ...
Stran 42
... conception of form is not that of shape , mode of expression , relations , organization , or medium . Rather , Bell means by the form of a work of art certain elements in certain relations ; that is , lines and colors in combinations ...
... conception of form is not that of shape , mode of expression , relations , organization , or medium . Rather , Bell means by the form of a work of art certain elements in certain relations ; that is , lines and colors in combinations ...
Stran 160
... conception of poetry than that provided by the previous " revelation " theories . It has not been able to show that the problem arises only when we accept the heresy of paraphrase since , as we have tried to show in our critique of ...
... conception of poetry than that provided by the previous " revelation " theories . It has not been able to show that the problem arises only when we accept the heresy of paraphrase since , as we have tried to show in our critique of ...
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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