A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 46
Pagina 22
... shape " ; it means that we give shape to a number of people for a particular purpose . But we go further and say , for exam- ple , that ice " forms " over a pond , or that dewdrops " form " on the twig of a tree . Then " form " does ...
... shape " ; it means that we give shape to a number of people for a particular purpose . But we go further and say , for exam- ple , that ice " forms " over a pond , or that dewdrops " form " on the twig of a tree . Then " form " does ...
Pagina 359
... shape , there is some dominant color that appears again and again or in related degrees of saturation , or else there is a color chord that is similarly repeated or is analyzed . In architecture , each style has its characteristic shape ...
... shape , there is some dominant color that appears again and again or in related degrees of saturation , or else there is a color chord that is similarly repeated or is analyzed . In architecture , each style has its characteristic shape ...
Pagina 461
... shape ( for we can look at only the shape , not the substance ) of that mountain we cease thinking about ourselves , and cease thinking about our- selves exactly in proportion as we are thinking of the moun- tain's shape . What becomes ...
... shape ( for we can look at only the shape , not the substance ) of that mountain we cease thinking about ourselves , and cease thinking about our- selves exactly in proportion as we are thinking of the moun- tain's shape . What becomes ...
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