The Dehumanization of Art, and Other Writings on Art and CultureDoubleday, 1956 - 187 pagine |
Dall'interno del libro
Risultati 1-3 di 4
Pagina 107
... hollow space with- out , however , coming to grips with them . Venetian art , from the beginning , tends to a dis- tant view of things . In Giorgione and Titian , the bodies seem to wish to lose their hard contours , and float like ...
... hollow space with- out , however , coming to grips with them . Venetian art , from the beginning , tends to a dis- tant view of things . In Giorgione and Titian , the bodies seem to wish to lose their hard contours , and float like ...
Pagina 108
... spaces . But in this undertaking he is forced to lean on architectonic perspective as on a crutch . Without those columns and cornices that flee into the back- ground , Tintoretto's brush would fall into the abyss of that hollow space ...
... spaces . But in this undertaking he is forced to lean on architectonic perspective as on a crutch . Without those columns and cornices that flee into the back- ground , Tintoretto's brush would fall into the abyss of that hollow space ...
Pagina 118
... hollow space that now takes on a magical creative power . For Des- cartes , the real is space , as for Velásquez it is L hollow space . After Descartes , the plurality of substance reap- pears for a moment in Leibniz . These substances ...
... hollow space that now takes on a magical creative power . For Des- cartes , the real is space , as for Velásquez it is L hollow space . After Descartes , the plurality of substance reap- pears for a moment in Leibniz . These substances ...
Altre edizioni - Visualizza tutto
The Dehumanization of Art, and Other Writings on Art and Culture José Ortega y Gasset Visualizzazione estratti - 1956 |
The Dehumanization of Art, and Other Writings on Art and Culture José Ortega y Gasset Visualizzazione estratti - 1956 |
The Dehumanization of Art, and Other Writings on Art and Culture José Ortega y Gasset Visualizzazione estratti - 1956 |
Parole e frasi comuni
action adventures aesthetic animal appear artist authentic become begins body called canvas century character chiaroscuro classical contemplation cubism culture DAVID RIESMAN definition DEHUMANIZATION OF ART Descartes destiny distance distant vision Don Quixote Dostoevski drama El Greco ERIC BENTLEY essay everything existence fact feel genre German gifts Giotto Goethe Goethe's hand Hence hollow space horizon human ical ideas imaginary inner interest JACQUES BARZUN less light literary live look magic man's masses means metaphor mind modern art NATHAN GLAZER never NOAH GREENBERG novel novelist object opposite ourselves painter painting PARTISAN REVIEW person personages philosophy picture poet poetry point of view possess possible precisely present primitive psychology pure reader reality realize Romanticism seems sensibility soul Stendhal style substance things thought Tintoretto tion traditional truth universe Velásquez vital vocation W. H. AUDEN Weimar words young youth