The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
Iz vsebine knjige
Zadetki 1–3 od 8
Stran 8
... perhaps completely sub - conscious , feeling or idea in the mind of the artist . It is often no more than an atti- tude of mind . The artist , convinced of its aesthetic dignity , attempts to hold it in suspension , to capture and ...
... perhaps completely sub - conscious , feeling or idea in the mind of the artist . It is often no more than an atti- tude of mind . The artist , convinced of its aesthetic dignity , attempts to hold it in suspension , to capture and ...
Stran 11
... suspect , that one original reaction was as authentic as the other . it was Perhaps not equally deep or sensitive , but no less real within its boundaries . However , one lacked the instinctive intelligence to transmit his emo- tion 11.
... suspect , that one original reaction was as authentic as the other . it was Perhaps not equally deep or sensitive , but no less real within its boundaries . However , one lacked the instinctive intelligence to transmit his emo- tion 11.
Stran 35
... Perhaps too obvious to mention is the rest of the horizontal , the excitement of the warring obliques . From this we may progress in the direc- tion of greater and greater refinements until the result is so subtle as to be incapable of ...
... Perhaps too obvious to mention is the rest of the horizontal , the excitement of the warring obliques . From this we may progress in the direc- tion of greater and greater refinements until the result is so subtle as to be incapable of ...
Pogosti izrazi in povedi
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