A Modern Book of Esthetics: An AnthologyH. Holt, 1935 - 504 pagine |
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Pagina 247
... significant form . In each , lines and colors combined in a particular way , certain forms and relations of forms , stir our esthetic emotions . These relations and combinations of lines and colors , these esthetically moving forms , I ...
... significant form . In each , lines and colors combined in a particular way , certain forms and relations of forms , stir our esthetic emotions . These relations and combinations of lines and colors , these esthetically moving forms , I ...
Pagina 259
... significance of form , is raised above the accidents of time and place . To him the problems of archaeology , history , and hagiography are impertinent . If the forms of a work are significant its provenance is irrelevant . Before the ...
... significance of form , is raised above the accidents of time and place . To him the problems of archaeology , history , and hagiography are impertinent . If the forms of a work are significant its provenance is irrelevant . Before the ...
Pagina 260
... form , but it is not significant form . It moves us , but it does not move us esthetically . It is tempting to explain the differ- ence between " significant form " and " beauty " -that is to say , the difference between form that ...
... form , but it is not significant form . It moves us , but it does not move us esthetically . It is tempting to explain the differ- ence between " significant form " and " beauty " -that is to say , the difference between form that ...
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