Art |
Contents
THE AESTHETIC HYPOTHESIS page | 3 |
AESTHETICS AND POSTIMPRESSIONISM | 38 |
THE METAPHYSICAL HYPOTHESIS | 49 |
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A. A. MILNE aesthetic judgments aesthetic significance ALDOUS HUXLEY appreciation architecture Arnold Bennett art and religion artist become believe better Byzantine Byzantine art C. E. MONTAGUE Cézanne Christian slope Cimabue Classical Renaissance CLIVE BELL contemporary movement create forms creation critic culture ecstasy emotion felt essential Europe existence express fact feel G. E. Moore galleries genius Giotto give history of art human hypothesis imagine imitation Impressionists inspiration intellectual irrelevant lines and colours live manifestation Masaccio matter means ment mind move museums never objects painters painting particular passion physical universe picture pleasure Post-Impressionism Post-Impressionist primitive produced provoke aesthetic emotion pure form R. H. MOTTRAM realism reality recognise religious Roger Fry Romanesque sculpture seems sense sensibility significance of form simplification spiritual suggest sure T. F. Powys taste theory things tion tradition visual art