The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
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Zadetki 1–3 od 24
Stran 9
... idea in material ( which is never as capable of instantaneously holding in suspension the great diversity and complexity of meanings as themind ) , but because there is a rigidity about matter which accepts and limits the meaning ...
... idea in material ( which is never as capable of instantaneously holding in suspension the great diversity and complexity of meanings as themind ) , but because there is a rigidity about matter which accepts and limits the meaning ...
Stran 28
... idea that the two have become inseparable , and proves beyond a shadow of a doubt that idea , in its most subtle nuances , cannot be so shorn as to be caged in a symbol . symbol.1 1 Symbol is not meant here in the conventional sense ...
... idea that the two have become inseparable , and proves beyond a shadow of a doubt that idea , in its most subtle nuances , cannot be so shorn as to be caged in a symbol . symbol.1 1 Symbol is not meant here in the conventional sense ...
Stran 38
... idea ' seems to me to correspond exactly to what I mean , but , alas ! he never explained , and probably could not , what he meant by the ' idea ' . " As to the value of the aesthetic emo- tion -- it is clearly infinitely removed from ...
... idea ' seems to me to correspond exactly to what I mean , but , alas ! he never explained , and probably could not , what he meant by the ' idea ' . " As to the value of the aesthetic emo- tion -- it is clearly infinitely removed from ...
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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