A Modern Book of Esthetics: An AnthologyH. Holt, 1935 - 504 pagine |
Dall'interno del libro
Risultati 1-3 di 25
Pagina 176
... 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 177
... 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 347
... painter whom chance has brought there . The wife , the doctor , the newspaper reporter , and the painter are witnessing the very same fact . Nevertheless , this one fact , the agony of the man , offers itself to each one of them in a ...
... painter whom chance has brought there . The wife , the doctor , the newspaper reporter , and the painter are witnessing the very same fact . Nevertheless , this one fact , the agony of the man , offers itself to each one of them in a ...
Sommario
VOLUNTARISTIC THEORIES | 53 |
EMOTIONALIST THEORIES | 81 |
HEDONISTIC THEORIES | 115 |
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abstract activity appears appreciation artist balance beauty become C. K. OGDEN called cause character classicism CLIVE BELL color conception connection consciousness Croce Dionysian Distance distinction drama effect elements Empathy esthetic emotion esthetic enjoyment esthetic object estheticians existence expression fact feeling fighting games formal give Greek hand HUGO MÜNSTERBERG human I. A. RICHARDS ideal ideas illusion imagination imitation impulse individual intellectual intuition isolation judgment kind knowledge labor less lines living machine matter means ment merely mind modern moral movement nature organic OSWALD SPENGLER ourselves painting perception philosophy physical picture play pleasure poetry practical present principle production Psychology of Beauty pure RAMON FERNANDEZ reality relations rhythm ROGER FRY romanticism satisfaction sculpture sensation sense sensuous social soul spiritual T. E. Hulme THEODOR LIPPS theory things thought tion true truth unity whole words