Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 39
Pagina 77
... element in art to the expressive or content - element - what has been described in Chapter I as " life - values . " The disagreement concerns how much of the non - formal element should be predomi- nant in the appreciation of the ...
... element in art to the expressive or content - element - what has been described in Chapter I as " life - values . " The disagreement concerns how much of the non - formal element should be predomi- nant in the appreciation of the ...
Pagina 107
... element has any value in itself . " Let us make no mistake about this . To help the spectator to appreciate our design we have introduced into our picture a representative or cognitive element . This element has nothing whatever to do ...
... element has any value in itself . " Let us make no mistake about this . To help the spectator to appreciate our design we have introduced into our picture a representative or cognitive element . This element has nothing whatever to do ...
Pagina 209
... element or presenta- tion in a work of art that cannot be taken out of that work with- out damaging the entire work , but can be presented only in this particular medium and in this particular context , is a truly artistic element ...
... element or presenta- tion in a work of art that cannot be taken out of that work with- out damaging the entire work , but can be presented only in this particular medium and in this particular context , is a truly artistic element ...
Sommario
PRELIMINARY DISTINCTIONS | 3 |
TRUTH IN THE ARTS | 60 |
THE ARTISTIC RELEVANCE OF TRUTH | 208 |
Copyright | |
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Aristotle artist assertion baroque music beauty Beethoven Bell certainly Cézanne Chapter character Clive Bell colors common composition convention critics described discussed distinction drama Eastman effect El Greco essence esthetic experience esthetic form esthetic surface evocation evoke example expression fact feeling George Santayana give Gurney Hanslick historical I. A. Richards Ibid images 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 Odysseus painter painting particular perception person 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