The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
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Zadetki 1–3 od 8
Stran 17
... fact that the shapes of the forms arose out of an inner need inherent in the idea itself and produces a strong subjective feeling of weirdness and the isolation of space . Here the resemblance to anything formerly experienced is at a ...
... fact that the shapes of the forms arose out of an inner need inherent in the idea itself and produces a strong subjective feeling of weirdness and the isolation of space . Here the resemblance to anything formerly experienced is at a ...
Stran 36
... fact it would be dif- ficult if not impossible to transmit abstract , intellectual , or emotional concepts if form could add no meanings of its own . All overtones , which enrich and intensify expression , would be lacking . The forms ...
... fact it would be dif- ficult if not impossible to transmit abstract , intellectual , or emotional concepts if form could add no meanings of its own . All overtones , which enrich and intensify expression , would be lacking . The forms ...
Stran 43
... facts to fade from our memory and leave only the quintessence , the psychologi- cal experience , as it were , which gives significance to the facts . -- " The art of caricature , then , forces us to admit that drawing can envisage ...
... facts to fade from our memory and leave only the quintessence , the psychologi- cal experience , as it were , which gives significance to the facts . -- " The art of caricature , then , forces us to admit that drawing can envisage ...
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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