Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 47
Stran 4
Morris Weitz. significant form for representation . Bell offers no detailed analysis of representation in art , but what he means is clear enough from his examples . He means by it those elements that look like certain events or ...
Morris Weitz. significant form for representation . Bell offers no detailed analysis of representation in art , but what he means is clear enough from his examples . He means by it those elements that look like certain events or ...
Stran 60
... representation , and representation and subject , and who identify form with the nonrepresentational , is completely unsound from the correct semantical point of view and must be rejected . In art , there are elements , their expressive ...
... representation , and representation and subject , and who identify form with the nonrepresentational , is completely unsound from the correct semantical point of view and must be rejected . In art , there are elements , their expressive ...
Stran 79
... representation or meaning in painting . First , there is mere plastic representation . Lines in paint- ing mean lines in nature . Thus , a vertical in a picture means a vertical in the " external " ( nonartistic ) world . In the same ...
... representation or meaning in painting . First , there is mere plastic representation . Lines in paint- ing mean lines in nature . Thus , a vertical in a picture means a vertical in the " external " ( nonartistic ) world . In the same ...
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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