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Pagina 252
Thus every good pattern is built up of one or more shapes, the disposition of
which constitutes the design. When there is color as well as shape, there is some
dominant color that appears again and again or in related degrees of saturation,
...
Thus every good pattern is built up of one or more shapes, the disposition of
which constitutes the design. When there is color as well as shape, there is some
dominant color that appears again and again or in related degrees of saturation,
...
Pagina 287
They are using "form" in a wider sense, which on the one hand is close to the
commonest, popular meaning, namely just the shape of a thing, and on the other
hand to the quite unpopular meaning it has in science and philosophy, where it ...
They are using "form" in a wider sense, which on the one hand is close to the
commonest, popular meaning, namely just the shape of a thing, and on the other
hand to the quite unpopular meaning it has in science and philosophy, where it ...
Pagina 344
We draw upon a rich stock of epithets descriptive of visible shape: we describe
the things we see as short, long, slender, straight, bent, crooked, bulbous,
bloated, pinched, spare, tapering, undulant, crimped, angular, pointed, blunt. . . .
We use ...
We draw upon a rich stock of epithets descriptive of visible shape: we describe
the things we see as short, long, slender, straight, bent, crooked, bulbous,
bloated, pinched, spare, tapering, undulant, crimped, angular, pointed, blunt. . . .
We use ...
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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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