Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 16
Pagina 185
... vision becomes highly specialized in their service . With an admirable economy we learn to see only so much as is ... vision abstracted from necessity . Now this specialization of vision goes so far that ordinary people have almost no ...
... vision becomes highly specialized in their service . With an admirable economy we learn to see only so much as is ... vision abstracted from necessity . Now this specialization of vision goes so far that ordinary people have almost no ...
Pagina 193
... vision , his own interpretation , the way he sees things . But certainly this is not sufficient . For to say that an artist is true - to his own vision is to say no more or less than that he is sincere , that he puts down what he feels ...
... vision , his own interpretation , the way he sees things . But certainly this is not sufficient . For to say that an artist is true - to his own vision is to say no more or less than that he is sincere , that he puts down what he feels ...
Pagina 194
... vision - it probably is ; but it is not the truth - to his own vision that is important ; what is important is that his vision is and can be the vision of others — that he can “ dive into the flux " and come back with a vision that we ...
... vision - it probably is ; but it is not the truth - to his own vision that is important ; what is important is that his vision is and can be the vision of others — that he can “ dive into the flux " and come back with a vision that we ...
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