The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
Iz vsebine knjige
Zadetki 1–3 od 9
Stran 18
... Human qualities , from the permanent to the transitory , seem to resist interpretation in anything but human terms . It is doubtless for this reason that most so - called abstractions , even the above mentioned Savinio , contain at ...
... Human qualities , from the permanent to the transitory , seem to resist interpretation in anything but human terms . It is doubtless for this reason that most so - called abstractions , even the above mentioned Savinio , contain at ...
Stran 29
... human qualities . They are doubtless likenesses of the individual and of the human race . One aspect of humanity distilled and abstracted , the sitter being the stimu- lus for the direction , and the final embodiment of it . This is not ...
... human qualities . They are doubtless likenesses of the individual and of the human race . One aspect of humanity distilled and abstracted , the sitter being the stimu- lus for the direction , and the final embodiment of it . This is not ...
Stran 41
... human action directed to an end , that end being emo- tion for the sake 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 ...
... human action directed to an end , that end being emo- tion for the sake 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 ...
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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