The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
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Zadetki 1–3 od 36
Stran 18
... abstract form and subjective form , as he labels them , differ in the respect that one abstracts formal arrange- ments from objects , the other depicts an abstract quality , such as " weirdness " . the term to one only . sive yet , even ...
... abstract form and subjective form , as he labels them , differ in the respect that one abstracts formal arrange- ments from objects , the other depicts an abstract quality , such as " weirdness " . the term to one only . sive yet , even ...
Stran 19
... abstract idea of their forms more perfect than any one original . " 5 The idea herein expressed finds its amplified echo in Merle Armitage's work when she declares that all painting is to some extent abstract which " ranges somewhere ...
... abstract idea of their forms more perfect than any one original . " 5 The idea herein expressed finds its amplified echo in Merle Armitage's work when she declares that all painting is to some extent abstract which " ranges somewhere ...
Stran 48
Edna May Tulane. ABSTRACT Abstraction : v . To separate , as ideas , by the opera- tion of the mind ; to consider separately , as a quality or attribute ; as to abstract the notion of dimension from that of space . Abstracted - adjc ...
Edna May Tulane. ABSTRACT Abstraction : v . To separate , as ideas , by the opera- tion of the mind ; to consider separately , as a quality or attribute ; as to abstract the notion of dimension from that of space . Abstracted - adjc ...
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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