The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
Iz vsebine knjige
Zadetki 1–3 od 16
Stran 38
... creates , that the most power- ful and moving form appears when it arises from the will to say something , we turn to the ... create a pleasing object . Personally , at least , I always feel that it implies the effort on the part of the ...
... creates , that the most power- ful and moving form appears when it arises from the will to say something , we turn to the ... create a pleasing object . Personally , at least , I always feel that it implies the effort on the part of the ...
Stran 51
... create works of art in order to provoke our aesthetic emotions , but because only thus can they materialise a particular kind of feeling . What precisely , this feeling is they find it hard to say . ' p . 51 " Not what he saw , but only ...
... create works of art in order to provoke our aesthetic emotions , but because only thus can they materialise a particular kind of feeling . What precisely , this feeling is they find it hard to say . ' p . 51 " Not what he saw , but only ...
Stran 53
Edna May Tulane. " But the only purpose of Corot and Manet is to create in us the emotion they themselves felt in contact with some- thing objective or imagined . " P. 61 " Instead of concentrating on what is significant , it attributed ...
Edna May Tulane. " But the only purpose of Corot and Manet is to create in us the emotion they themselves felt in contact with some- thing objective or imagined . " P. 61 " Instead of concentrating on what is significant , it attributed ...
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