The Fine ArtsC. Scribner's Sons, 1906 - 321 Seiten |
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Seite 2
... satisfied . Without this detachment from the yoke of necessity there can be no art , but as soon as the being is thus released a portion of its energy is at once turned in the direction of some form of free and spontaneous expression ...
... satisfied . Without this detachment from the yoke of necessity there can be no art , but as soon as the being is thus released a portion of its energy is at once turned in the direction of some form of free and spontaneous expression ...
Seite 8
... satisfy the craving by stretching out her legs , protruding her claws , and pulling at some such surface as the covering of a chair or the bark of a tree . . . . . This useless activity of unused organs , which in these cases hardly ...
... satisfy the craving by stretching out her legs , protruding her claws , and pulling at some such surface as the covering of a chair or the bark of a tree . . . . . This useless activity of unused organs , which in these cases hardly ...
Seite 62
... satisfied , normal images resulted , to which succeeding artists adhered with lively freedom and there arose images of gods and heroes , which possessed not less internal truth and stability , than if the personages themselves had sat ...
... satisfied , normal images resulted , to which succeeding artists adhered with lively freedom and there arose images of gods and heroes , which possessed not less internal truth and stability , than if the personages themselves had sat ...
Seite 95
... satisfied with the external conditions under which they had been brought up - conditions which , however unlike those sur- rounding the artist of the sixteenth century or of more modern days , were extremely healthful to the particular ...
... satisfied with the external conditions under which they had been brought up - conditions which , however unlike those sur- rounding the artist of the sixteenth century or of more modern days , were extremely healthful to the particular ...
Seite 162
... satisfy the mind , and to give to the building a monumental character , with an appearance that it could resist the shocks of time or the violence of man for ages yet to come , ' 1 and there is no doubt that the impression of immovable ...
... satisfy the mind , and to give to the building a monumental character , with an appearance that it could resist the shocks of time or the violence of man for ages yet to come , ' 1 and there is no doubt that the impression of immovable ...
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aerial perspective æsthetic Alfred Stevens ancient appear arch architect architrave arts of form breadth bronze building century CHAP character classical composition construction contours contrast conventions Correggio curved dance decorative delight delineation Discobolus Doric drapery Egyptian elements essential example façade feeling festal festival figures Florence Florentine formal beauty forms of art fresco frescoist frieze give Gothic graphic art Greek hand harmony Hellenic Herbert Spencer human idea ideal imitation impasto impression Italian kind light light-and-shade linear perspective lines marble mass material matter medieval ment metopes modern monumental moulded objects painter painting Parthenon partly perspective Pheidias physiological pictorial picture pigment plastic play pleasure practice produced qualities recognised relation relief Rembrandt representation represented retina round Saltatione scenes sculpture shape significant Sir Charles Eastlake stone structure style surface temple texture theory theory of colour Theseus thing tints tion tone and colour treatment triglyphs unity Vasari wall whole