A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, Rinehart and Winston, 1973 - 568 pagine |
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Pagina 228
... visual art , and that this emotion is provoked by every kind of visual art , by pictures , sculptures , buildings , pots , carv- ings , textiles , etc. , is not disputed , I think , by any one capable of feeling it . This emotion is ...
... visual art , and that this emotion is provoked by every kind of visual art , by pictures , sculptures , buildings , pots , carv- ings , textiles , etc. , is not disputed , I think , by any one capable of feeling it . This emotion is ...
Pagina 300
... visual arts , painting , sculp- ture , and architecture through the eye . Is there not , more than a difference in function , a genuine and essential contrast in content , between what the eye sees and what the ear hears ? I am speaking ...
... visual arts , painting , sculp- ture , and architecture through the eye . Is there not , more than a difference in function , a genuine and essential contrast in content , between what the eye sees and what the ear hears ? I am speaking ...
Pagina 321
... visual dynamics is not a secondary attachment of the stimulus , due to accidental , subjective associations , but ... visual form . What makes the visual field split up into segregated objects - trees , houses , cars , people ? What ...
... visual dynamics is not a secondary attachment of the stimulus , due to accidental , subjective associations , but ... visual form . What makes the visual field split up into segregated objects - trees , houses , cars , people ? What ...
Sommario
THE MEANING OF | 1 |
THE CREATIVE PROCESS | 23 |
EXPRESSION OF EMOTION | 50 |
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abstract Abstract Expressionism activity appear appreciation Aristotle artist attitude avant-garde beauty become called character Clement Greenberg Clive Bell color complete concept concrete consciousness contemplation contextualist critic Cubism culture definition Dionysian Distance distinction distinguished dream elements empathy estheticians example existence experience expression external fact feeling formal function Greek human Ian McHarg ideas imagination imitation important impulse individual intuition John Hospers kind language look Lucien Goldmann material meaning ment mind Morris Weitz movement musical expression nature nude object organic painting pattern perceived perception person philosophy physical picture play pleasure poem poet poetic poetry present principle produced psychology pure reality reason relation rhythm Rudolf Arnheim sculpture sensation sense sensuous shape significant form social sound speak species-being structure style symbol taste theory things tion understand unity vision visual vivid whole WILHELM WORRINGER words world vision