The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
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Zadetki 1–3 od 8
Stran 9
... desire . Changes also occur because no artist has the ability flaw- lessly and initially to " form " his " meaning " in " matter " . It may be paradoxical to suggest that his very lack of skill often suggests the way . the way . If the ...
... desire . Changes also occur because no artist has the ability flaw- lessly and initially to " form " his " meaning " in " matter " . It may be paradoxical to suggest that his very lack of skill often suggests the way . the way . If the ...
Stran 15
... desire . And I mean colours of the same kind , with the same kind of beauty and pleasures . This cannot yet be called an abstract art , for although it deals with the formal values of art they are not " abstract- ed " values . It does ...
... desire . And I mean colours of the same kind , with the same kind of beauty and pleasures . This cannot yet be called an abstract art , for although it deals with the formal values of art they are not " abstract- ed " values . It does ...
Stran 17
... desire to recreate in artist and observer the subjective quality of , say , " weirdness " , " desolation " , " doom " , " forboding " . Many of the works of Paul Klee could be so classified . Another example might be Alberto Savinio's ...
... desire to recreate in artist and observer the subjective quality of , say , " weirdness " , " desolation " , " doom " , " forboding " . Many of the works of Paul Klee could be so classified . Another example might be Alberto Savinio's ...
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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