Artists and Thinkers |
Iz vsebine knjige
Zadetki 1–5 od 22
Stran 3
... technique and his reflections on art ; to give the world- view of a Maeterlinck , a Tolstoy or a Wagner as it reflects their imagination and defines their outlook on the world of art ; to explain Hegel's philosophy as world - romance of ...
... technique and his reflections on art ; to give the world- view of a Maeterlinck , a Tolstoy or a Wagner as it reflects their imagination and defines their outlook on the world of art ; to explain Hegel's philosophy as world - romance of ...
Stran 10
... technique ; and routed the scoffers and faultfinders by sheer 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 ...
... technique ; and routed the scoffers and faultfinders by sheer 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 ...
Stran 11
... technique which is forceful and resourceful as well as radical , dramatic quality , nervous strength ; and that it is intense , imaginative , and intellectually stimulating . Such things are rare in modern sculpture , which at its best ...
... technique which is forceful and resourceful as well as radical , dramatic quality , nervous strength ; and that it is intense , imaginative , and intellectually stimulating . Such things are rare in modern sculpture , which at its best ...
Stran 12
Louis Willaim Flaccus. has defended his ideals and his technique , has done it brilliantly and incidentally , as only a Frenchman can ; he has jotted down his thoughts on art in note- books ; and allowed himself to be interviewed freely ...
Louis Willaim Flaccus. has defended his ideals and his technique , has done it brilliantly and incidentally , as only a Frenchman can ; he has jotted down his thoughts on art in note- books ; and allowed himself to be interviewed freely ...
Stran 13
... technique , in which Rodin saw greater and greater possibilities . In his groups he shows a preference for bodies in motion and for sharp - angled positions such as are given by bent , stooping or writhing bodies . Technically this ...
... technique , in which Rodin saw greater and greater possibilities . In his groups he shows a preference for bodies in motion and for sharp - angled positions such as are given by bent , stooping or writhing bodies . Technically this ...
Druge izdaje - Prikaži vse
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.