Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 41
Stran 3
... significant form is the essential , the distinguishing feature of art , that which initiates the aesthetic emotion . In painting , Bell finds that significant form is constituted by certain combinations of lines and colors that move us ...
... significant form is the essential , the distinguishing feature of art , that which initiates the aesthetic emotion . In painting , Bell finds that significant form is constituted by certain combinations of lines and colors that move us ...
Stran 4
... significant form . " If a repre- sentative form has value , it is as form , not as representation . ” 5 " If the representative element is not to ruin the picture as a work of art , it must be fused into the design . . . It must be ...
... significant form . " If a repre- sentative form has value , it is as form , not as representation . ” 5 " If the representative element is not to ruin the picture as a work of art , it must be fused into the design . . . It must be ...
Stran 33
... significant form ; for they leave it much too unanalyzed to be considered seriously as the essence of art.25 ] Bell construes it as the aesthetically moving combination of line and color ; Fry , as relational spatial structure . But ...
... significant form ; for they leave it much too unanalyzed to be considered seriously as the essence of art.25 ] Bell construes it as the aesthetically moving combination of line and color ; Fry , as relational spatial structure . But ...
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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