Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 25
Stran 14
... conception . The paint- ings of the Post - Impressionists , especially of Cézanne , are singled out as the creative realization of these aesthetic principles . In their work , Fry submits , we find the conscious repudiation of the ...
... conception . The paint- ings of the Post - Impressionists , especially of Cézanne , are singled out as the creative realization of these aesthetic principles . In their work , Fry submits , we find the conscious repudiation of the ...
Stran 42
... conception of form is not that of shape , mode of expression , relations , organization , or medium . Rather , Bell means by the form of a work of art certain elements in certain relations ; that is , lines and colors in combinations ...
... conception of form is not that of shape , mode of expression , relations , organization , or medium . Rather , Bell means by the form of a work of art certain elements in certain relations ; that is , lines and colors in combinations ...
Stran 43
... conception of the distinction between form and content , one which compre- hended the art object in more organic terms . In rejecting the mathematical approach to art - specifically , in repudiating the form - content distinction in ...
... conception of the distinction between form and content , one which compre- hended the art object in more organic terms . In rejecting the mathematical approach to art - specifically , in repudiating the form - content distinction in ...
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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