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Pagina 253
Another principle of esthetic form is balance. Balance is equality of opposing or
contrasting elements. Balance is one kind of esthetic unity, for despite the
opposition of the elements in balance, each needs the other and together they
create a ...
Another principle of esthetic form is balance. Balance is equality of opposing or
contrasting elements. Balance is one kind of esthetic unity, for despite the
opposition of the elements in balance, each needs the other and together they
create a ...
Pagina 254
a special kind of balance, and has to be supplemented by the wider conception
of balance of unlike parts.4 With this richer conception in mind, we can
understand the balance — as in Bruegel's "Harvesters" — between prominent
objects in ...
a special kind of balance, and has to be supplemented by the wider conception
of balance of unlike parts.4 With this richer conception in mind, we can
understand the balance — as in Bruegel's "Harvesters" — between prominent
objects in ...
Pagina 256
Closeness of connection, yet ultimate difference, marks the relation between
evolution and the other types of esthetic unity, balance and thematic variation.
The static character of balance is opposed to the dynamic character of evolution;
...
Closeness of connection, yet ultimate difference, marks the relation between
evolution and the other types of esthetic unity, balance and thematic variation.
The static character of balance is opposed to the dynamic character of evolution;
...
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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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