Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 75
Stran 54
... color of the large front figure volume will affect the aesthetic value of the color of the back smaller figure volumes . Hence , they visualize each color volume not only in terms of itself but also in terms of the other color volumes ...
... color of the large front figure volume will affect the aesthetic value of the color of the back smaller figure volumes . Hence , they visualize each color volume not only in terms of itself but also in terms of the other color volumes ...
Stran 65
... color , that is , that colors build and relate on the canvas . Intuitively , of course , many of the old masters recognized the importance of color , in seeing it as more than decoration or natu- ralistic detail . In Western art , since ...
... color , that is , that colors build and relate on the canvas . Intuitively , of course , many of the old masters recognized the importance of color , in seeing it as more than decoration or natu- ralistic detail . In Western art , since ...
Stran 66
... color is employed as the fundamental building element . No one who has experienced much of modern art accepts the naturalistic criterion of color any more either . Colors are to be chosen not because of the objects they are supposed to ...
... color is employed as the fundamental building element . No one who has experienced much of modern art accepts the naturalistic criterion of color any more either . Colors are to be chosen not because of the objects they are supposed to ...
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A. C. Bradley accept aesthetic experience aesthetic theory aestheticians analysis appreciation of art art object artistic activity assertions attitude basic believe Bell and Fry Bertrand Russell Cézanne chap character Cleanth Brooks communication complex constituents contemplation contemporary criticism Cubism depth meanings Desdemona desire doctrine drama Ducasse Ducasse's Eliot embody truth claims Emilia emotions Erwin Panofsky evaluation example expressive qualities fact Fascism feelings formalism Freud function G. E. Moore Hanslick heteronomous human experience I. A. Richards Ibid iconic imaginative indulgence interpret italics in original John Hospers kind language line and color literature make-believe medium modern motion picture nature novel organic theory painting Parker Philosophy poem poetry problem Prufrock psychic distance psychological pure purism question referential rejected relation representation Richards satisfaction semantical sense sexual significant form soirée specific spectator symbolic art T. S. Eliot theme theory of appreciation thing tion transparent symbol truth claims values whole