A Modern Book of Esthetics: An AnthologyMelvin Miller Rader Holt, 1952 - 602 pagine |
Dall'interno del libro
Risultati 1-3 di 49
Pagina 17
... soul by the use of imitation or by producing through the medium of certain sensible symbols the spontaneous presence in the mind of something over and above such symbols . Painting imitates with colors and plane forms given things ...
... soul by the use of imitation or by producing through the medium of certain sensible symbols the spontaneous presence in the mind of something over and above such symbols . Painting imitates with colors and plane forms given things ...
Pagina 107
... soul , from a “ sketch " ( as the painters call it ) , from a mo- tive ; and they follow one another and crowd together with- out that precise intonation , without that accent , which comes from the heart . And what is the figure cut ...
... soul , from a “ sketch " ( as the painters call it ) , from a mo- tive ; and they follow one another and crowd together with- out that precise intonation , without that accent , which comes from the heart . And what is the figure cut ...
Pagina 569
... soul is the reason for the neces- sity of art . A static value , however serious and important , becomes unendurable by its appalling monotony of endur- ance . The soul cries aloud for release into change . It suffers the agonies of ...
... soul is the reason for the neces- sity of art . A static value , however serious and important , becomes unendurable by its appalling monotony of endur- ance . The soul cries aloud for release into change . It suffers the agonies of ...
Sommario
Intuition | 89 |
Desire and the Unconscious | 127 |
Art and the Unconscious From | 143 |
Copyright | |
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abstract activity ANDREW CECIL BRADLEY appears appreciation artist aspect attitude balance beauty become Beethoven BENEDETTO CROCE called character CLIVE BELL color concrete consciousness contemplation contextualist criticism daydreams Distance distinction distinguished dream effect elements empathy esthetic emotion esthetic experience existence expression external reality fact feeling Freud genotype give Gurney Hanslick human I. A. RICHARDS ideas images imagination imitation impulse individual instinctive interest intrinsic intuition isolated JOHN HOSPERS judgments kind language latent content live manifest content material means Melvin Rader ment merely mind moral nature object objectified organic ourselves painter painting perception phantasies philosophy physical picture pitch play pleasure poem poet poetic poetry practical present principle produce psychological pure relation rhythm rience scientific sensation sense sensuous social soul sound spatial super-ego THEODORE MEYER theory things thought tion truth type patterns unity variation Vernon Lee whole WILHELM WORRINGER words