The Inter-relationship of Form and Expression in Portrait PaintingUniversity of Wisconsin--Madison, 1941 |
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Edna May Tulane. PREFACE This discussion is concerned with the whole of painting rather than speaking always in terms of portraits . For what is true of all painting will be true of portrait painting in so far as they both aspire to the ...
Edna May Tulane. PREFACE This discussion is concerned with the whole of painting rather than speaking always in terms of portraits . For what is true of all painting will be true of portrait painting in so far as they both aspire to the ...
Stran 13
... painting in which subject - matter , or content , is stressed . One is in no sense art ( flittingly mentioned as " verbalized painting " ) , the other is the highest type of art . There are two types of painting wherein pure form is ...
... painting in which subject - matter , or content , is stressed . One is in no sense art ( flittingly mentioned as " verbalized painting " ) , the other is the highest type of art . There are two types of painting wherein pure form is ...
Stran 50
... painted after 1914 , it must be realized that they in no way add to the primary concept of the movement . Painting went on to something else , at least that of the masters did . be precise , Braque took up painting again in 1917 ...
... painted after 1914 , it must be realized that they in no way add to the primary concept of the movement . Painting went on to something else , at least that of the masters did . be precise , Braque took up painting again in 1917 ...
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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