The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
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Zadetki 1–3 od 8
Stran 17
... composition sanctioned by its consis- tent form " , " observe " no " formal laws " , and shapes for con- veying an emotion or mood are created . It is possible to conceive of an object in no way speci- fically resembling phenomenal ...
... composition sanctioned by its consis- tent form " , " observe " no " formal laws " , and shapes for con- veying an emotion or mood are created . It is possible to conceive of an object in no way speci- fically resembling phenomenal ...
Stran 33
... composition . This movement can be pleasing or otherwise , depending on the sensitivity of the painter . The movement is such that it is sensed rather than " followed " in the majority of cases . Daumier's " Riot " is a composition of ...
... composition . This movement can be pleasing or otherwise , depending on the sensitivity of the painter . The movement is such that it is sensed rather than " followed " in the majority of cases . Daumier's " Riot " is a composition of ...
Stran 55
... composition because of the attraction which a marked gesture has for the eye . In almost all paintings this disturbance of the purely decorative values by reason of the representative effect takes place , and the problem becomes too ...
... composition because of the attraction which a marked gesture has for the eye . In almost all paintings this disturbance of the purely decorative values by reason of the representative effect takes place , and the problem becomes too ...
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