A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 30
Pagina 111
... painter is a painter , because he sees what others only feel or catch a glimpse of , but do not see . We think we see a smile , but in reality we have only a vague impression of it , we do not perceive all the charac- teristic traits of ...
... painter is a painter , because he sees what others only feel or catch a glimpse of , but do not see . We think we see a smile , but in reality we have only a vague impression of it , we do not perceive all the charac- teristic traits of ...
Pagina 112
... painter pos- sess those of another painter ! Nevertheless , that little is all our actual patrimony of intuitions or representations . Beyond these are only impressions , sensations , feelings , im- pulses , emotions , or whatever else ...
... painter pos- sess those of another painter ! Nevertheless , that little is all our actual patrimony of intuitions or representations . Beyond these are only impressions , sensations , feelings , im- pulses , emotions , or whatever else ...
Pagina 439
... painter errs , nor that his deviations from the " natural " ( nat- ural = human ) fail to reach it . The fact is that they point to a road leading away from the " human " object in the opposite direction . The painter , far from trying ...
... painter errs , nor that his deviations from the " natural " ( nat- ural = human ) fail to reach it . The fact is that they point to a road leading away from the " human " object in the opposite direction . The painter , far from trying ...
Sommario
Reality and Imagination | 3 |
Having an Experience From Art as | 62 |
Intuition | 89 |
Copyright | |
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abstract activity ANDREW CECIL BRADLEY appears appreciation Aristotle artist aspect attitude beauty become called character Clive Bell color concrete consciousness contemplation contextualist criticism discourse Distance distinction distinguished dream effect elements empathy esthetic emotion esthetic experience esthetic value existence expression external reality fact feeling genotype give Gurney HERBERT READ human I. A. Richards ideas images imagination imitation impulse individual instinctive interest intrinsic intuition isolationist JOHN HOSPERS judgment kind language latent content live machine manifest content material means Melvin Rader ment merely mind moral nature object objectified organic painting patterns perceived perception person phantasies Philosophy physical picture play pleasure poem poet poetic poetry practical present principle produce psychological pure question relation rhythm rience scientific sensations sense sensuous significance social soul sound super-ego taste THEODORE MEYER theory things tion truth unity Vernon Lee whole WILHELM WORRINGER words