The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
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Stran 31
... felt . I am not sure that the problem ' too much or too little reality ' has ever found a perfectly satisfactory answer . That is natural enough . But little by little we are drawing nearer to its precise solution . " 1 1 Ozenfant , op ...
... felt . I am not sure that the problem ' too much or too little reality ' has ever found a perfectly satisfactory answer . That is natural enough . But little by little we are drawing nearer to its precise solution . " 1 1 Ozenfant , op ...
Stran 34
... felt in these paintings , as is necessarily the case the instant any pure surface is touched with color or line , but the balance and relationships are worked out primarily in tonal effects . Unlike Another formal use of color may be ...
... felt in these paintings , as is necessarily the case the instant any pure surface is touched with color or line , but the balance and relationships are worked out primarily in tonal effects . Unlike Another formal use of color may be ...
Stran 51
... felt will necessarily condition his design . " p . 58 Concerning Cezanne : " His life was a constant effort to create forms that would express what he felt in the moment of inspiration . " p . 211 . Clive Bell , Art . DEFINITION OF ART ...
... felt will necessarily condition his design . " p . 58 Concerning Cezanne : " His life was a constant effort to create forms that would express what he felt in the moment of inspiration . " p . 211 . Clive Bell , Art . DEFINITION OF ART ...
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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