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Pagina 169
There is no substitute for the direct perception of the concrete fact with a high light
thrown on what is relevant to its preciousness. What I mean is art (and esthetic
education). It is, however, art in such a general sense of the term that I hardly like
...
There is no substitute for the direct perception of the concrete fact with a high light
thrown on what is relevant to its preciousness. What I mean is art (and esthetic
education). It is, however, art in such a general sense of the term that I hardly like
...
Pagina 220
Two different orders must combine, so to speak, if we are to have any concrete
pattern at all. Philosophically this was recognized by Plato in the notion of the
communication of the categories. Since every sound in order to be heard, ...
Two different orders must combine, so to speak, if we are to have any concrete
pattern at all. Philosophically this was recognized by Plato in the notion of the
communication of the categories. Since every sound in order to be heard, ...
Pagina 428
But oddly enough, though primitive speech is highly concrete, primitive painting
and sculpture seem to be highly abstract. At times they resemble pictographs with
only that degree of individuality that exists in handwriting. We find much the ...
But oddly enough, though primitive speech is highly concrete, primitive painting
and sculpture seem to be highly abstract. At times they resemble pictographs with
only that degree of individuality that exists in handwriting. We find much the ...
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Sommario
THE MEANING OF ART | 3 |
THE CREATIVE PROCESS | 23 |
EXPRESSION OF EMOTION | 50 |
Copyright | |
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Parole e frasi comuni
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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