Meaning and Truth in the ArtsUniversity of North Carolina Press, 1946 - 252 pagine |
Dall'interno del libro
Risultati 1-3 di 29
Pagina 111
... interests him . If this interest can in some sense be called dramatic , it will not be true to say that the " dramatic ” painter will give emphasis to ultra - plastic values , in the sense of values outside and independent of the ...
... interests him . If this interest can in some sense be called dramatic , it will not be true to say that the " dramatic ” painter will give emphasis to ultra - plastic values , in the sense of values outside and independent of the ...
Pagina 112
... interest ( for example , when the political squabbles of seventeenth- century France become outdated , or when medieval habits of dress lose their interest for most people ) , then , since the interest of the painting depends upon the ...
... interest ( for example , when the political squabbles of seventeenth- century France become outdated , or when medieval habits of dress lose their interest for most people ) , then , since the interest of the painting depends upon the ...
Pagina 113
... interest ; there are life- values that enter painting which are not adventitious , which do not exist merely to illustrate a scene from life or to arouse the same old life - emotion over again . This is not illustrational , since the ...
... interest ; there are life- values that enter painting which are not adventitious , which do not exist merely to illustrate a scene from life or to arouse the same old life - emotion over again . This is not illustrational , since the ...
Sommario
PRELIMINARY DISTINCTIONS | 3 |
TRUTH IN THE ARTS | 60 |
THE ARTISTIC RELEVANCE OF TRUTH | 208 |
Copyright | |
2 sezioni non visualizzate
Altre edizioni - Visualizza tutto
Parole e frasi comuni
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