Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 29
Stran 2
... 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 - point for all systems of ...
... 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 - point for all systems of ...
Stran 18
... regard to works of art of all kinds . . . The idea of a special kind of experience . . . may seem plausible enough with regard to our experience of certain peculiarly abstract musical con- structions or even of certain kinds of ...
... regard to works of art of all kinds . . . The idea of a special kind of experience . . . may seem plausible enough with regard to our experience of certain peculiarly abstract musical con- structions or even of certain kinds of ...
Stran 122
... regard it , has been one of the inspirations of modern painting . Purism and Architecture In architecture we find the same insistence upon the preservation of the integrity of the medium . In fact , in no other art has the call of the ...
... regard it , has been one of the inspirations of modern painting . Purism and Architecture In architecture we find the same insistence upon the preservation of the integrity of the medium . In fact , in no other art has the call of the ...
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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