A Theory of Fine ArtScribner, Armstrong,, 1874 - 290 páginas |
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Página x
... Figure . Composition in Sculpture . — Equipoise of Form and Material . — Adapted to the Representation of the Superhuman . - Distinctive Excellence of Sculpture as an Art . — Its Ideal- ity . Development of the Art in Greece . Sculpture ...
... Figure . Composition in Sculpture . — Equipoise of Form and Material . — Adapted to the Representation of the Superhuman . - Distinctive Excellence of Sculpture as an Art . — Its Ideal- ity . Development of the Art in Greece . Sculpture ...
Página 39
... figure abstractly – ' still , ' I might say to my companion , there is beauty in that wheel , and you yourself would not only admit , but would feel it , if you never had seen a wheel before . See how the rays proceed from the centre to ...
... figure abstractly – ' still , ' I might say to my companion , there is beauty in that wheel , and you yourself would not only admit , but would feel it , if you never had seen a wheel before . See how the rays proceed from the centre to ...
Página 40
Joseph Torrey. figure , and the real thing as figured , exactly coincide . There is nothing heterogeneous , nothing to abstract from ; by its perfect smoothness and circularity in width , each part is ( if I may borrow a metaphor from a ...
Joseph Torrey. figure , and the real thing as figured , exactly coincide . There is nothing heterogeneous , nothing to abstract from ; by its perfect smoothness and circularity in width , each part is ( if I may borrow a metaphor from a ...
Página 41
... figures , the square and the circle contain the most perfect relation of parts in the unity of a whole ; but even in architecture these figures are rarely admissible , except where their stiff effect can be wholly overcome , by some ...
... figures , the square and the circle contain the most perfect relation of parts in the unity of a whole ; but even in architecture these figures are rarely admissible , except where their stiff effect can be wholly overcome , by some ...
Página 111
... figure does not look like what it is not ; it looks like marble , and like the form of a man ; but then it is marble , and it is the form of a man . .. We see , then , the limits of an idea of imitation ; it extends only to the ...
... figure does not look like what it is not ; it looks like marble , and like the form of a man ; but then it is marble , and it is the form of a man . .. We see , then , the limits of an idea of imitation ; it extends only to the ...
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Términos y frases comunes
actual æsthetic agreeable ancient architecture artist awaken Baldassare Castiglione beautiful belongs breadth called capable character characteristic Charles Bell Cicero color common complacency conception considered constitutes contemplating cultivation dimensions distinguished effect emotions equipoise Essay essence essential excitement expression fact faculty feel fine arts form of sense freedom genius Greece harmony Hence highest human mind idea ideal images imagination imitation individual infinite harmony intellectual interest judg judgment of taste kind Laocoön less Lord Bacon Manasseh Cutler material matter means ment mode modern moral nature never object original outward painter painting particular passions perception perfect plastic arts pleasure poet poetry possess present principle produce proportion pure purpose realization relation represented rience rules says sculpture seems sensuous simply sion Sir Francis Burdett soul spirit style sublime symbols theory thing thought tiful tion true truth ture uncon understanding unity universal whole wholly
Pasajes populares
Página 212 - The intelligible forms of ancient poets, The fair humanities of old religion, The power, the beauty, and the majesty, That had their haunts in dale, or piny mountain. Or forest by slow stream, or pebbly spring, Or chasms and wat'ry depths; all these have vanished ; They live no longer in the faith of reason!
Página 106 - ... in an autumnal morning, without feeling an elevation of soul like the enthusiasm of devotion or poetry. Tell me, my dear friend, to what can this be owing! Are we a piece of machinery, which, like the ./Eolian harp, passive, takes the impression of the passing accident; or do these workings argue something within us above the trodden clod...
Página 129 - Ye elves of hills, brooks, standing lakes, and groves ; And ye that on the sands with printless foot Do chase the ebbing Neptune, and do fly him, When he comes back...
Página 252 - The Poet writes under one restriction only, namely, the necessity of giving immediate pleasure to a human Being possessed of that information which may be expected from him, not as a lawyer, a physician, a mariner, an astronomer, or a natural philosopher, but as a Man.
Página 7 - It is a metaphor, taken from a passive sense of the human body, and transferred to things which are in their essence not passive, — to intellectual acts and operations.
Página 254 - The objects of the Poet's thoughts are everywhere; though the eyes and senses of man are, it is true, his favourite guides, yet he will follow wheresoever he can find an atmosphere of sensation in which to move his wings.
Página 106 - I have some favourite flowers in spring, among which are the mountain-daisy, the hare-bell, the fox-glove, the wild brier-rose, the budding birch, and the hoary hawthorn, that I view and hang over with particular delight.
Página 125 - Neither let it be deemed too saucy a comparison to balance the highest point of man's wit with the efficacy of Nature ; but rather give right honour to the heavenly Maker of that maker, who, having made man to His own likeness, set him beyond and over all the works of that second nature : which in nothing he showeth so much as in Poetry, when with the force of a divine breath He bringeth things forth far surpassing her doings...
Página 171 - Each cast at the other, as when two black clouds, With heaven's artillery fraught, come rattling on Over the Caspian...
Página 240 - That tall Man, a giant in bulk and in height, Not an inch of his body is free from delight ; Can he keep himself still, if he would ? oh, not he ! The music stirs in him like wind through a tree.