The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
Iz vsebine knjige
Zadetki 1–3 od 9
Stran 48
... consider- ation one or more qualities of a complex object so as to attend to others . Thus , when the mind considers the form of a tree by itself , or the color of the leaves as separate from their size or figure , the act is called ...
... consider- ation one or more qualities of a complex object so as to attend to others . Thus , when the mind considers the form of a tree by itself , or the color of the leaves as separate from their size or figure , the act is called ...
Stran 50
... . " Yet from antiquity onwards the classical attitude has been to consider painting a representational art . Amedee Ozenfant , Foundations of Modern Art , p . 55 . DEFINITION OF ART The " The starting point for all 50.
... . " Yet from antiquity onwards the classical attitude has been to consider painting a representational art . Amedee Ozenfant , Foundations of Modern Art , p . 55 . DEFINITION OF ART The " The starting point for all 50.
Stran 55
... consider only whether the emotional elements inher- ent in natural form are adequately discovered , unless , indeed , the emotional idea depends at any point upon likeness , or completeness of representation . " p . 38 " It is a mood of ...
... consider only whether the emotional elements inher- ent in natural form are adequately discovered , unless , indeed , the emotional idea depends at any point upon likeness , or completeness of representation . " p . 38 " It is a mood 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