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Pagina 437
The conclusions the avant-gardist artists of the 1960's drew from their inability to
grasp the art in Pollock got acted on in ... Surrealism, and the Academy of the
Avant-Garde" which appeared in Hudson Review of Spring 1969, was to define
and ...
The conclusions the avant-gardist artists of the 1960's drew from their inability to
grasp the art in Pollock got acted on in ... Surrealism, and the Academy of the
Avant-Garde" which appeared in Hudson Review of Spring 1969, was to define
and ...
Pagina 439
It was as though the line between art and supposed non-art receded faster for the
avant-garde, and that at the same time the latter had to push harder and harder
against that line. As I've already said: to most people at the time, the first ...
It was as though the line between art and supposed non-art receded faster for the
avant-garde, and that at the same time the latter had to push harder and harder
against that line. As I've already said: to most people at the time, the first ...
Pagina 553
Reflections on the Avant-Garde Berleant, Arnold, "Aesthetics and the
Contemporary Arts," JAAC 29 (1970). Ames, Van Meter, "Is It Art?," JAAC 30 (
1971). , "The New in Art," in Konstantin Kolenda (ed.), Insight and Vision, San
Antonio, Tex.
Reflections on the Avant-Garde Berleant, Arnold, "Aesthetics and the
Contemporary Arts," JAAC 29 (1970). Ames, Van Meter, "Is It Art?," JAAC 30 (
1971). , "The New in Art," in Konstantin Kolenda (ed.), Insight and Vision, San
Antonio, Tex.
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Sommario
THE MEANING OF ART | 3 |
THE CREATIVE PROCESS | 23 |
EXPRESSION OF EMOTION | 50 |
Copyright | |
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abstract activity Apollinian appear appreciation Aristotle artist attitude avant-garde beauty become Benedetto Croce Bernard Bosanquet called character characteristic Clive Bell color complete concept concrete consciousness contemplation criticism defined definition Dionysian Distance distinction distinguished dream effect elements embodiment emotion empathy esthetic estheticians example existence experience expression external fact feeling formal function G. E. M. Anscombe Greek human ideas imagination imitation impulse individual intuition intuitive knowledge John Hospers kind language look Ludwig Wittgenstein machine material meaning ment mind Morris Weitz nature nude object organic painting pattern perceived perception person phantasy philosophical physical picture play pleasure poem poet poetic poetry present principle produced psychological pure R. G. Collingwood reality relation rhythm Rudolf Arnheim sensation sense shape significance social sound structure style symbol taste theory things tion tragedy unity vision visual whole words world vision
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