The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
Iz vsebine knjige
Zadetki 1–3 od 4
Stran 4
... ment as objective as possible , but the critic must work with the only instrument he possesses namely , his own sensibility with all its personal equations . " 4 -- As a whole the " bound " aestheticians share much the same views in ...
... ment as objective as possible , but the critic must work with the only instrument he possesses namely , his own sensibility with all its personal equations . " 4 -- As a whole the " bound " aestheticians share much the same views in ...
Stran 20
... ment . The systems of philosophy , the laws of science and the laws of art are , therefore subjective patterns by means of which chaotic nature is imbued with formal order and rendered comprehensible . With minor differences , Plato's ...
... ment . The systems of philosophy , the laws of science and the laws of art are , therefore subjective patterns by means of which chaotic nature is imbued with formal order and rendered comprehensible . With minor differences , Plato's ...
Stran 54
... ment of the universal . Often the artist achieves the great- est universality when he is most fully absorbed in the indi- vidualistic and , it may be , partially ultra - pictorial sub- ject . " p . 116 Concerning abstract modern art ...
... ment of the universal . Often the artist achieves the great- est universality when he is most fully absorbed in the indi- vidualistic and , it may be , partially ultra - pictorial sub- ject . " p . 116 Concerning abstract modern art ...
Pogosti izrazi in povedi
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