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Pagina 18
It is the paradox of beauty that its expressiveness belongs to the beautiful thing
itself and yet would not be there except for the mind . Under the conditions of the
material in which it is expressed , the beautiful owes some part of its meaning to ...
It is the paradox of beauty that its expressiveness belongs to the beautiful thing
itself and yet would not be there except for the mind . Under the conditions of the
material in which it is expressed , the beautiful owes some part of its meaning to ...
Pagina 19
only as possessed by mind , but whereas in them mind and the external still sit
loosely to each other , and in the one case the mind contemplates an external
reality which owes to the mind its truth but not its reality , and in the other case the
...
only as possessed by mind , but whereas in them mind and the external still sit
loosely to each other , and in the one case the mind contemplates an external
reality which owes to the mind its truth but not its reality , and in the other case the
...
Pagina 28
proportion , because the mind likes order and likes unity ; lastly and above all
brightness or clarity , because the mind likes light and intelligibility . A certain
splendor is indeed according to all the Ancients the essential character of beauty
...
proportion , because the mind likes order and likes unity ; lastly and above all
brightness or clarity , because the mind likes light and intelligibility . A certain
splendor is indeed according to all the Ancients the essential character of beauty
...
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Sommario
ART AS SEMBLANCE | 3 |
ART AS BEAUTY | 23 |
ART AS EMOTIONAL EXPRESSION | 51 |
Copyright | |
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abstract action activity actual appears appreciation artist attitude beauty become belief body called character color common complete concept connection consciousness contemplation course Criticism definition direct Distance distinction distinguished effect elements emotional esthetic example existence experience expression external fact feeling follow function give hand human ideas imagination imitation important individual interest intuition kind knowledge language less lines living look material matter meaning merely mind moral movement nature never object organic original painting particular perception person Philosophy physical picture play pleasure poem poet poetic poetry possible practical present principle produce pure question reality reason relation result seems sense shape similar sound spiritual style symbols theory things thought tion tragedy true truth unity universal whole writers York