Artists and Thinkers |
Iz vsebine knjige
Zadetki 1–5 od 41
Stran 5
... force of his work ; if Wagner had never written his essays or letters we should feel the philosophy of Schopenhauer throbbing in the very music of Tristan und Isolde . With philosophy it is very much the same . If there is such a thing ...
... force of his work ; if Wagner had never written his essays or letters we should feel the philosophy of Schopenhauer throbbing in the very music of Tristan und Isolde . With philosophy it is very much the same . If there is such a thing ...
Stran 10
... force of artistic purpose . It is easy to be too severe with these critics . After all there is some excuse for their hostility ; they had a right to distrust a sculptor who offered as his début The Man with the Broken Nose , and who ...
... force of artistic purpose . It is easy to be too severe with these critics . After all there is some excuse for their hostility ; they had a right to distrust a sculptor who offered as his début The Man with the Broken Nose , and who ...
Stran 18
... force or at all costs ; it is after all , a mood , a passion , an elemental conflict he wishes to catch ; and he purposely exaggerates the size of a hand or foot , overdoes a muscle or hints at two successive moments in one and the same ...
... force or at all costs ; it is after all , a mood , a passion , an elemental conflict he wishes to catch ; and he purposely exaggerates the size of a hand or foot , overdoes a muscle or hints at two successive moments in one and the same ...
Stran 30
... force roar in the living flesh ; Lusa della Robbia makes it smile divinely ! " Gsell in the course of the conversation suggests that Rodin's own statues show very clearly this tor- ment of the invisible and inexplicable . He sees in ...
... force roar in the living flesh ; Lusa della Robbia makes it smile divinely ! " Gsell in the course of the conversation suggests that Rodin's own statues show very clearly this tor- ment of the invisible and inexplicable . He sees in ...
Stran 31
... forces that change the one to the other . But the reference to Villon's poem , while it adds to the poignancy of the statue , seems to vio- late Rodin's principle of inherent symbolism . While his interpretation of Millet and Baudelaire ...
... forces that change the one to the other . But the reference to Villon's poem , while it adds to the poignancy of the statue , seems to vio- late Rodin's principle of inherent symbolism . While his interpretation of Millet and Baudelaire ...
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Pogosti izrazi in povedi
æsthetic Apollonian and Dionysian artist asked beauty becomes Birth of Tragedy Burghers of Calais character clue color complete consciousness contrast cosmic creative culture dance demand divine doctrine of eternal Ecce Homo emotional essays eternal recurrence everything expression feeling force fragmentary gives Greek Hegel human idea ideal imagery imagination imitation individual inner intellectual intense interest interpretation King Lear lacks Leitmotif light Maeter Maeterlinck Marcus Aurelius marks meaning modern mood moral movement music drama nature ness Nietzsche Nietzsche's opera organic unity painting passages passion pessimism philosophy plastic play poet poetry principle problem reflects rich Rodin Rodin's art Schopenhauer sculpture seems self-expression sharply significance simply soul Spake Zarathustra spirit strength strong struggle subtle suggests Superman surface symbolism Tannhäuser technique theory of art things Thinker thought tion Tolstoy Tolstoy's tragedy tragic Tristan und Isolde true art truth turn ugly universe Wagner weakness
Priljubljeni odlomki
Stran 154 - Art is a human activity consisting in this, that one man consciously by means of certain external signs, hands on to others feelings he has lived through, and that others are infected by these feelings and also experience them.
Stran 155 - It is always complied with in peasant art, and this explains why such art always acts so powerfully ; but it is a condition almost entirely absent from our upper-class art, which is continually produced by artists actuated by personal aims of covetousness or vanity.
Stran 154 - To evoke in oneself a feeling one has once experienced, and having evoked it in oneself, then, by means of movements, lines, colours, sounds, or forms expressed in words, so to transmit that feeling that others may experience the same feeling— this is the activity of art.
Stran 93 - Wie es fassen? Wie sie lassen. Diese Wonne fern der Sonne Fern der Tage Trennungsklage? Ohne Wähnen sanftes Sehnen, Ohne Bangen süß Verlangen; Ohne Wehen hehr Vergehen, Ohne Schmachten hold Umnachten; Ohne Scheiden ohne Meiden, Traut allein ewig heim.
Stran 196 - Wie? Ward die Welt nicht eben vollkommen? Rund und reif? Oh des goldenen runden Reifs — wohin fliegt er wohl?
Stran 95 - Höre ich nur diese Weise, die so wundervoll und leise, Wonne klagend, Alles sagend, mild versöhnend aus ihm tönend in mich dringet, auf sich schwinget, hold erhallend um mich klinget?
Stran 52 - Hilda and Solness are, I believe, the first characters in drama who feel, for an instant, that they are living in the atmosphere of the soul; and the discovery of this essential life that exists in them, beyond the life of every day, comes fraught with terror.
Stran 183 - Leben: Gold sah ich in deinem Nacht-Auge blinken, — mein Herz stand still vor dieser Wollust: - einen goldenen Kahn sah ich blinken auf nächtigen Gewässern, einen sinkenden, trinkenden, wieder winkenden goldenen Schaukel-Kahn!
Stran 93 - Halt ich dich fest? Ist es kein Trug? Ist es kein Traum? O Wonne der Seele! O süße, hehrste, kühnste, schönste, seligste Lust! Ohne-Gleichel Koerreichel Überselig! Ewig! Ewig! Ungeahnte, nie gekannte, überschwenglich hoch erhabne! Freudejauchzen! Lustentzücken! Himmelhöchstes Weltentrücken! Mein, Tristan! Mein, Isolde!
Stran 148 - My life had come to a sudden stop. I was able to breathe, to eat, to drink, to sleep. I could not, indeed, help doing so; but there was no real life in me.