The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
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Stran 17
... mood are created . It is possible to conceive of an object in no way speci- fically resembling phenomenal nature , and following no formal dictates , catering only to the desire to recreate in artist and observer the subjective quality ...
... mood are created . It is possible to conceive of an object in no way speci- fically resembling phenomenal nature , and following no formal dictates , catering only to the desire to recreate in artist and observer the subjective quality ...
Stran 26
... mood , from natural objects , animate or inanimate , with little or no change in the forms as com- monly recognized , Luini might be a good example of an artist relying to a minimum degree on abstract geometrical relation- ship ...
... mood , from natural objects , animate or inanimate , with little or no change in the forms as com- monly recognized , Luini might be a good example of an artist relying to a minimum degree on abstract geometrical relation- ship ...
Stran 35
Edna May Tulane. to enhance or strengthen the subjective static emotion called " mood " . Picasso's periods might suffice to best illustrate this fact . It takes only a cursory glance to the succession of periods to see the vocabulary of ...
Edna May Tulane. to enhance or strengthen the subjective static emotion called " mood " . Picasso's periods might suffice to best illustrate this fact . It takes only a cursory glance to the succession of periods to see the vocabulary of ...
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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