A Modern Book of Esthetics: An AnthologyH. Holt, 1935 - 504 pagine |
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Risultati 1-3 di 68
Pagina 229
... principles of form - theme , thematic variation , balance , rhythm , hierarchy , and evolution - serve this one master principle . Form thus conceived is not limited to mere design or pattern , such as the abstract relation of colors or ...
... principles of form - theme , thematic variation , balance , rhythm , hierarchy , and evolution - serve this one master principle . Form thus conceived is not limited to mere design or pattern , such as the abstract relation of colors or ...
Pagina 232
... principles are , I think , very few ; as few , indeed , as six : the principle of organic unity , or unity in variety , as it has been called ; the principle of the theme ; the principle of thematic variation ; balance ; the principle ...
... principles are , I think , very few ; as few , indeed , as six : the principle of organic unity , or unity in variety , as it has been called ; the principle of the theme ; the principle of thematic variation ; balance ; the principle ...
Pagina 234
... principle of esthetic form ; all the other principles serve it . First among them is what I would call the principle of the theme . This corresponds to the " dominant character " or idee mère of Taine . In every complex work of art ...
... principle of esthetic form ; all the other principles serve it . First among them is what I would call the principle of the theme . This corresponds to the " dominant character " or idee mère of Taine . In every complex work of art ...
Sommario
VOLUNTARISTIC THEORIES | 53 |
ART AS THE EXPRESSION | 81 |
THEORIES OF INTUITION AND TECH | 153 |
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abstract activity appears appreciation artist balance beauty become BENEDETTO CROCE C. K. OGDEN called cause character classicism CLIVE BELL color conception connection consciousness Croce Distance distinction effect elements Empathy esthetic contemplation esthetic emotion esthetic enjoyment esthetic object estheticians existence experience expression fact feeling formal give Greek hand HUGO MÜNSTERBERG human I. A. RICHARDS idea ideal illusion imagination imitation impulses individual inner intellectual intuition isolation knowledge labor less lines living machine matter means ment merely mind moral movement nature organic OSWALD SPENGLER ourselves painter painting perception philosophy physical picture play pleasure poetry practical present principle production Psychology of Beauty RAMON FERNANDEZ reality relations rhythm ROGER FRY romanticism sculpture sensation sense significant form social soul spiritual striving T. E. Hulme tendency THEODOR LIPPS theory things thought tion truth unity VERNON LEE whole word