The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
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Zadetki 1–3 od 5
Stran 1
... critic , student , and public alike have embraced it whole- heartedly . Bell went so far as to declare that subject- matter was irrelevant . This extreme indifference to what is represented gave rise to statements such as the following ...
... critic , student , and public alike have embraced it whole- heartedly . Bell went so far as to declare that subject- matter was irrelevant . This extreme indifference to what is represented gave rise to statements such as the following ...
Stran 3
... critics , particularly those who so extravagantly and unreservedly eulogize modern art . He said : " But here is what is wrong with panegyrists . More interested in their own creation than in what they treat of , they annihilate what ...
... critics , particularly those who so extravagantly and unreservedly eulogize modern art . He said : " But here is what is wrong with panegyrists . More interested in their own creation than in what they treat of , they annihilate what ...
Stran 4
... critic must work with the only instrument he possesses namely , his own sensibility with all its personal equations . " 4 -- As a whole the " bound " aestheticians share much the same views in that they emphasize the dignity of ...
... critic must work with the only instrument he possesses namely , his own sensibility with all its personal equations . " 4 -- As a whole the " bound " aestheticians share much the same views in that they emphasize the dignity of ...
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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