The Spirit and Substance of ArtF.S. Crofts & Company, 1941 - 593 strani |
Iz vsebine knjige
Zadetki 1–3 od 79
Stran 150
... objects from one point , a candle or a lamp , and the aim may be to give the reflections on the walls , the objects with their edges and spots of light and the deepening shadows about . Or there may be an even , diffused light ...
... objects from one point , a candle or a lamp , and the aim may be to give the reflections on the walls , the objects with their edges and spots of light and the deepening shadows about . Or there may be an even , diffused light ...
Stran 191
... objects drift into the background of attention . Careful introspection shows it is not so much the objects as their moving that makes one ex- claim . That this is not immediately obvious is because of our initial object - consciousness ...
... objects drift into the background of attention . Careful introspection shows it is not so much the objects as their moving that makes one ex- claim . That this is not immediately obvious is because of our initial object - consciousness ...
Stran 421
... object , which they give faithfully in its form and often in its detail . Their conception of nature is one not of processes , but of a static assemblage of objects . This view is itself an imaginative reshaping of what life gives ...
... object , which they give faithfully in its form and often in its detail . Their conception of nature is one not of processes , but of a static assemblage of objects . This view is itself an imaginative reshaping of what life gives ...
Vsebina
The Field of Aesthetics | 3 |
NOTES AND ADDITIONS | 11 |
The Methods of Aesthetics | 15 |
Avtorske pravice | |
24 preostalih delov ni prikazanih
Druge izdaje - Prikaži vse
Pogosti izrazi in povedi
Aeschylus aesthetic aesthetic types aesthetician aims appears architecture Aristophanes artistic Banister Fletcher beauty become body Cézanne character color comic complex contrast creative cubist dance dancer decorative distortion drama effects emotional example experience expressionism expressionistic expressive Falstaff Fauvism feeling force free verse gained give Greek human idea ideals imagery imaginative impulses individual intensity interest interpretation John Brown's Body laughter light lines living mark mass material means method mind modern mood moral motor move movement naturalistic nature novel objects organization Othello painter painting patterns phrase picture play pleasure poem poet poetry post-expressionism problem program music psychic purpose relation reshaping response reveals rhythm rhythmic Rodin romanticism scheme sculpture sense shaping shows simple social space spirit Strange Interlude structure sublime surfaces sympathetic technique theme theory things tion tive tragedy tragic ture turn unity Vachel Lindsay values verism verse vision visual