The Inter-relationship of Form and Expression in Portrait Painting
University of Wisconsin--Madison, 1941
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ability abstract abstract art activity aesthetic appear arrangement artist associative attempt balance beauty become Bell CHAPTER character closely color completely composition conceived conception concerned consider create critic Cubism defined definition Design desire effect elements embodiment emotion emphasis essential example exist experience expression fact feeling felt force formal genius geometrical give holds human idea ideal imitate indicate intellectual intensity interpretation laws least less light limited material matter meaning mind mood movement moving nature object original Ozenfant painter painting particular perfect Perhaps personality plastic play poetry portrait possible present problem psychological pure qualities Read reality reason relationship representation result Santayana seems sense separate shapes significant simply space specific subject-matter subjective suggests surface symbolism takes term theory thing thought tion true truth understanding universal values various Vision visual volume whole York