The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
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Zadetki 1–3 od 9
Stran 1
... in effect , only looks at pictures nowadays for their agreeable colours and remarkable forms . " 1 1 Amedee Ozenfant , Foundations of Modern Art , John Rodker , 1931 , p . 88 . In making the artist and public more conscious than ever.
... in effect , only looks at pictures nowadays for their agreeable colours and remarkable forms . " 1 1 Amedee Ozenfant , Foundations of Modern Art , John Rodker , 1931 , p . 88 . In making the artist and public more conscious than ever.
Stran 3
... Ozenfant notes this tendency of critics , particularly those who so extravagantly and unreservedly eulogize modern art . He said : " But here is what is wrong with panegyrists . More interested in their own creation than in what they ...
... Ozenfant notes this tendency of critics , particularly those who so extravagantly and unreservedly eulogize modern art . He said : " But here is what is wrong with panegyrists . More interested in their own creation than in what they ...
Stran 50
... Ozenfant , Foundations of Modern Art , P. 53 . " The Cubist attitude : the effort to evoke emotion without resorting to representational forms . " Yet from antiquity onwards the classical attitude has been to consider painting a ...
... Ozenfant , Foundations of Modern Art , P. 53 . " The Cubist attitude : the effort to evoke emotion without resorting to representational forms . " Yet from antiquity onwards the classical attitude has been to consider painting a ...
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abstract art abstract content abstract form Abstract Windmills abstractionist aesthetic aestheticians Amedée Ozenfant Aristotle arrangement Art Digest artist associative elements attri balance beauty Called Abstract Cezanne CHAPTER Clive Bell color completely composition conceived conception concerned conscious Corot create Cubist DEFINITION OF ART degree effect emotion emphasis evoke example feeling FORM AND CONTENT form and expres FORM AND EXPRESSION formal values Foundations of Modern genius George Santayana Herbert Read human HUPPLER idea ideal imitate intellectual John Rodker material embodiment Matter and Form ment Modern Art mood movement nature object off-balance original painter peculiar Peter Green Picasso poetry portrait painting psychological volumes pure form qualities reality relationship Representation and Form Roger Fry Santayana sense sensuous shapes sheer significant form simply sion space Stechow sub-conscious subject-matter subjective form symbolism term theory thing tion Tolstoi trompe-l'oeil Tropism University of Wisconsin verbal Vision and Design visual Walter Abell whole word abstract York