Philosophy of the ArtsHarvard University Press, 1950 - 239 strani |
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Zadetki 1–3 od 29
Stran 74
... space , picture space is a sub- stance that is to be filled in ; otherwise gaps result in the picture . Secondly , space is not subordinate to any theory of perspective . The naturalistic theory of space , which developed along with the ...
... space , picture space is a sub- stance that is to be filled in ; otherwise gaps result in the picture . Secondly , space is not subordinate to any theory of perspective . The naturalistic theory of space , which developed along with the ...
Stran 75
... space is exploited in a brilliant way . Both artists have captured the infinite , unenclosed character of space , as we moderns comprehend it , and the whole expressive quality of the infinite . In fact , however we may regard their ...
... space is exploited in a brilliant way . Both artists have captured the infinite , unenclosed character of space , as we moderns comprehend it , and the whole expressive quality of the infinite . In fact , however we may regard their ...
Stran 77
... space organization and not to the totality of form . As space or- ganization , it is to painting what staging is to the drama . It is the arrangement of the masses in pictorial space ; consequently , it is subordinate to design , and ...
... space organization and not to the totality of form . As space or- ganization , it is to painting what staging is to the drama . It is the arrangement of the masses in pictorial space ; consequently , it is subordinate to design , and ...
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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