The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
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Zadetki 1–3 od 23
Stran 7
... emotion has he experienced ? What emotion can he express in notes or words or plastic form ? What emotion can he transmit ? These are the questions the answers to which will determine his rank as an artist . And in any discussion of ...
... emotion has he experienced ? What emotion can he express in notes or words or plastic form ? What emotion can he transmit ? These are the questions the answers to which will determine his rank as an artist . And in any discussion of ...
Stran 41
... emotion . 2 2 Peter Green , The Problem of Art , p . 52. He goes on to say , agreeing with Tolstoi , that , " Emotion experienced , expressed , and transmitted , would seem to be the specific aim and purpose of art . " The view of ...
... emotion . 2 2 Peter Green , The Problem of Art , p . 52. He goes on to say , agreeing with Tolstoi , that , " Emotion experienced , expressed , and transmitted , would seem to be the specific aim and purpose of art . " The view of ...
Stran 51
... emotion . objects that provoke this emotion we call works of art . All sensitive people agree that there is a peculiar emotion provoked by works of art . " p . 6 " It seems to me possible , though by no means certain , that created form ...
... emotion . objects that provoke this emotion we call works of art . All sensitive people agree that there is a peculiar emotion provoked by works of art . " p . 6 " It seems to me possible , though by no means certain , that created form ...
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abstract art abstract content abstract form Abstract Windmills abstractionist aesthetic aestheticians Amedée Ozenfant Aristotle arrangement Art Digest artist associative elements attempt attri balance beauty Called Abstract Cezanne CHAPTER Clive Bell color completely composition conceived conception concerned conscious Corot create Cubism 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 sense sensuous shapes sheer significant form simply sion space sub-conscious subject-matter subjective form symbolism term thing tion Tolstoi trompe-l'oeil Tropism University of Wisconsin verbal Vision and Design visual Walter Abell whole Wolfgang Stechow word abstract York