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| Katkey: | 7376212 |
| Volltext: | INDEX Abstract form, two dimensional, 35 ff.; three dimensional, 45 ff., 163; limitations of, 48 ff., 117- 18, 163-4. Abstractionist criticism, 2. ff., 9 ff., 60-61, 163-4, 167. "Accentuation, " 149. Action, 81 ff../Esthetic values, three classes of, 19, 21, 162; relation between three classes, 69 ff.; relative significance of three classes, 32-3, 68 ff. "Amplitudes" of form, see Form. Architecture, 46-7. Arts, relations between the, 99-100. Association, 19-21, 62-4, 67; "objcctification" of, 20-21, 66-7. Associative effects, their place in visual art, 93 ff., 118-20. Associative form, definition of, 72-3; origins of the conception, 121; relation to plastic form, 93 ff., 122 ff. Attention, focus of, 93 ff.; alternating process of, 96-7. Barnes, Albert C., 6 ff., 103, 132-3, 152, 166. Bell, Clive, 2, 3, 3. Bergson, Henri, 6. Cezanne, 10, 12, 60. Character, a form, 75 ff., 123; relations between characters, 79 ff. Cheney, Sheldon, 2, 13, 152, 133. Classicism, definition of, 130-31. Color, 26 ff.; the individual color, 26 ff.; color relations, 30; relation to form, 33-4. Content, 13, 91-2. Continuum of experience, 93. Crivelli, "Annunciation, " 90. Croce, Benedetto, 15, 92. Cubism, 3, 47-8, 32-3, 118. Decoration, 12, 104, 132 ff. Degas, "Repasseuses, " 144. Delacroix, 8; "Death of Assurbanipal, " 149 ff., 138. De Mazia, Violette, 132. Dewey, John, 49, 136. "Displacement" of formal equilibrium, 149-50. Dramatic effect, 88-9, 150. El Greco, 13; "Agony in the Garden, " 85 ff., in, 128 ff. Expression, definition of, 19-21; aesthetic and non-aesthetic, 20-21, 66-7; in color, 28, 125-30; in form, 31-2; non-visual sources of, 44, 65; enrichment of form through, 45. "Expressive design, " 152, 153 ff. Form (see also Associative, Functional, Plastic, and Representational form), definition of, 19, 21-3, 165; various "amplitudes" of, 31-2, 45, 58-60, 7I_3 75 ff- 97-8, 124 ff., 144 ff., 168; relation to subject-matter, 1, 91-2; compared with other sources of aesthetic value, 32, 68-9; enrichment through expression, 45; through ultra-plastic representation, 69 ff.; "displacement" of, 149-50. Fry, Roger, 15, 121-2. Functional form, 46-7, 51. "Fusion" between subject-matter and "body-forms, " 14-15. Geometrical pattern, 35-8. Giorgione, 13; "Pastoral Concert, " 3. Giotto, 13, 131-2. Guillaume and Monro, 7. Holmes, Sir Charles, 6-7. Illumination, 42. Illustration, 11, 108. Impressionism, 94. Industrial form, 46-7, 31. "Internal" as distinguished from "ultra-pictorial" meanings, 106 ff. Knowledge as related to assthetic experience, 105, 111-12. Light, 42. "Literary" effects in visual art, 98 ff., 141 ff. Literary form, 99 ff., 136 ff. Manet, 104. Material, beauty of, defined, 19; relation to form, 33-4; enriched through form, 32-3; throigh expression, 64-5. Mathematical form, 33. 172 INDEX Mather, Frank Jewett, 5-6. Matisse, ix-13. Mauron, Charles, 15, 76, 121. Meanings, "internal" as distinguished from "ultra-pictorial, " 106 ff. ; universal as distinguished from particular, 114-16. Melodrama, 8, 149-50, 159; definition of, 150. "Middle position" in modern criticism, 54-5, 165-6. Millais, "Lorenzo and Isabella, " 107, 141. Music, 1-3, 39-40, 122, 137. Naturalism, 151. Nature as source of creative inspiration, 58-9. "Network of relations, " 22, 60, 79. Non-visual experience as related to vision, 41 ff., 97-8. Paleolithic art, 7. Pattern, two types of, 35; geometrical, 35-8; limitations of, 35 ff.; representational, 58-9. Perception, 31-z. Perugino, "Agony in the Garden, " 86, 130-31. "Photographic" art, 151. Plastic effects, partly representational, 58-61, 164; not the sole source of visual form, 90-91 ; relation to associative effects, 135 ff. Plastic "equivalency, " 9 ff., 13, 124. Plastic form, enriched through representation, 60- 61, 164-5; relation to associative form, 122 ff. Poetry, 113. "Priority, " of elements in visual form, 136-8. "Psychological form, " 15, 73, 76. Raphael, "Marriage of the Virgin, " 78. Realism, 15z. "Reality" in aesthetic experience, 157-8. Rcid, Herbert Arnaud, 4, 14, 166. Relations, "network of, " zz, 60, 79. Rembrandt, "Portrait of an Old Woman, " 75, 82, 125-6; "Portrait of the Painter's Mother, " 77, 83. Representation (see also Ultra-plastic representation), definition of, 56; spontaneous emergence of, 5z, 56-7; importance as compared with plastic effects, 135 ff.; relation to plastic effects, 60-61, 93 ff., 135 ff., 164-5; relation to aesthetic values, 24, 58 ff., 118-19; relation to form, 91-z, 165; relation to observer's knowledge, nz-13; internal clarity of, 105 ff., 111-12; confusion due to uncertain, 37, 50; universal and particular meanings in, 114-16; ultra-pictorial extensions of, 105 ff., 116 ff. Representational form, definition of, 73, 124-5, r34; examples of, 125 ff.; variations of, 135 ff.; defective examples of, 14z ff. Romanticism, definition of, 150-51. Santayana, George, 19-21, 69, IZI. Sculpture, 59, 160. Sensation, visual, 26-7; tactile, 64-5. Sensuous appeal of color, 27; of texture, 43; through ultra-plastic representation, 64-5. Setting, 81 ff. "Significant form, " z, 3. Social background of art, 116-17. Sound, intrinsically abstract, 39-40, 167-8. Space, 52. "Strata" of vision, 25; first stratum, 26 ff.; second stratum, 29 ff., 57-8; third stratum, 41 ff., 57; fourth stratum, 62 ff., 90 ff. Subject-matter, see Representation. Tactile sensation, 43, 64-5. Texture, 43-4. Third dimension, 42. Tintoretto, 8, 13, 103; "Annunciation, " 84. Titian, 13, 132; "Entombment, " 5; compared with Cézanne, "Still Life, " 10, 132-3; "Madonna of the Cherries, " 79, 83-4, 106, 127; "Presentation of the Virgin, " 80. "Transferred values, " 13. Ultra-pictorial representation, 105 ff. Ultra-plastic representation, effect on "material, " 64-5; effect on form, 69 ff.; effect on expression, 65 ff.; place in visual art, 97 ff., 118-20. Universal as distinguished from particular meanings, 114-16. Velasquez, 104. Vermeer, 104. Veronese, "Marriage of St. Catherine, " 84. Vision, intrinsically representational, 39-40, 167; affected by non-visual experience, 41 ff., 90 ff., 97-8; priority of elements in, 136 ff. Visual form, various "amplitudes" of, see Form. Wilenski, R. H., 151-2. |
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