A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 28
Pagina 361
... 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 whole . Thus the blue ...
... 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 whole . Thus the blue ...
Pagina 362
... balance between elements of unlike quality - balance , say , of brightness of color against distance or size - the attention value of each must be the same , though opposed in direction . The essential thing about balance is equality of ...
... balance between elements of unlike quality - balance , say , of brightness of color against distance or size - the attention value of each must be the same , though opposed in direction . The essential thing about balance is equality of ...
Pagina 363
... balance the heavier lower part . No more difficult of explanation are some cases where asymmetry appears to be ... balance . One finds similar eccentric elements in all complex pat- terns ; but always with a background of emphatic ...
... balance the heavier lower part . No more difficult of explanation are some cases where asymmetry appears to be ... balance . One finds similar eccentric elements in all complex pat- terns ; but always with a background of emphatic ...
Sommario
Having an Experience From Art as | 62 |
Intuition | 89 |
Desire and the Unconscious | 127 |
Copyright | |
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abstract activity ANDREW CECIL BRADLEY appears appreciation artist aspect attitude beauty become BENEDETTO CROCE called character CHRISTOPHER CAUDWELL CLIVE BELL color concrete consciousness contemplation contextualist criticism daydreams Distance distinction distinguished dream effect elements empathy esthetic emotion esthetic experience existence expression external reality fact feeling Freud genotype give Gurney Hanslick HERBERT READ human I. A. RICHARDS ideas images imagination imitation impulse individual instinctive interest intrinsic intuition isolated JOHN HOSPERS judgments kind language latent content live manifest content material means Melvin Rader ment merely mind moral nature object objectified organization ourselves painter painting perception phantasies philosophy physical picture pitch play pleasure poem poet poetic poetry practical present principle produce psychological pure relation rhythm rience scientific sensation sense sensuous social soul sound spatial super-ego theory things tion truth type patterns unity variation Vernon Lee whole WILHELM WORRINGER words