Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 52
Pagina 174
... human char- acter is of far less importance in painting than it is in literature . Painting is much less " human , " much more " art . " ( Or at least it is human in a far more abstract sense . ) Many artists ( Cézanne , Seurat ) ...
... human char- acter is of far less importance in painting than it is in literature . Painting is much less " human , " much more " art . " ( Or at least it is human in a far more abstract sense . ) Many artists ( Cézanne , Seurat ) ...
Pagina 202
... human being without knowing it to be a human being , and without com- ing to it with a large apperception - mass of fused experiences and associations . Moreover , in most cases the artist intended us to know and feel these things , and ...
... human being without knowing it to be a human being , and without com- ing to it with a large apperception - mass of fused experiences and associations . Moreover , in most cases the artist intended us to know and feel these things , and ...
Pagina 206
... human nature from reading Dostoyevsky ; but what do we know from seeing Cézanne or hearing Mozart ? There are propositions about human nature which we may be able to assert after reading Dostoyevsky , which we never could in the other ...
... human nature from reading Dostoyevsky ; but what do we know from seeing Cézanne or hearing Mozart ? There are propositions about human nature which we may be able to assert after reading Dostoyevsky , which we never could in the other ...
Sommario
PRELIMINARY DISTINCTIONS | 3 |
In Painting | 38 |
PROPOSITIONAL TRUTH | 141 |
Copyright | |
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Aristotle artist assertion baroque music beauty Beethoven Bell certainly Cézanne Chapter character Charles Mauron Clive Bell colors common composition convention critics described discussed distinction drama Eastman effect essence esthetic experience esthetic form esthetic surface evocation evoke example expression fact feeling George Santayana give Gurney Hanslick historical I. A. Richards Ibid imaginative imitate important irrelevant kind knowledge L. A. Reid language life-values listener literary literature Marc Chagall material matter Max Eastman meaning medium merely mind musical experiences natural symbol notion novel objects Odyssey painter painting particular perception person picture plastic poem poet poetic present Professor Greene program music propositions psychological pure question realism reality refer referential relevant represent representational Roger Fry Santayana sense significant form simply sounds speak statements subject-matter Sullivan T. E. Hulme term theme things tion true true-to truth usage vision visual words York