Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 24
Stran 47
... interpret the content of a work of art as all that is in it : all the elements , expressive characteristics and the ... interpreting content as theme , subject , or elements as against relations . On this usage , then , we can speak of ...
... interpret the content of a work of art as all that is in it : all the elements , expressive characteristics and the ... interpreting content as theme , subject , or elements as against relations . On this usage , then , we can speak of ...
Stran 70
... interpret the expressive , tactile , textural qualities of paint in the same way , just as they will respond to the tactile qualities of a tree in the same way , in so far as these qualities are related to lightness and heaviness . But ...
... interpret the expressive , tactile , textural qualities of paint in the same way , just as they will respond to the tactile qualities of a tree in the same way , in so far as these qualities are related to lightness and heaviness . But ...
Stran 89
... interpret soft or straight lines as meaning the unconscious or the conscious . Therefore , the most we can say is ... interpreted by the artist as the exploitation of pure , virgin space ! The most we can say of this symbol , then , is ...
... interpret soft or straight lines as meaning the unconscious or the conscious . Therefore , the most we can say is ... interpreted by the artist as the exploitation of pure , virgin space ! The most we can say of this symbol , then , is ...
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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