The Gate of Appreciation: Studies in the Relation of Art to LifeHoughton, Mifflin, 1907 - 279 Seiten |
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Häufige Begriffe und Wortgruppen
able actual appeal appreciation artist arts of form beauty becomes canvas cerned color and form conscious creates creation criticism decoration delight dium elements embodies emotion ence enjoyment experience expres expression external fact feeling felt Frans Hals fuller Giotto harmony idea ideal imagination impulse individual intellectual interpretation ject knowledge landscape language layman living Lyric poetry Madonnas man's manifestations Masaccio material Matthew Arnold means medium ment Michelangelo Millet mind nature ness object ourselves painter painting Parthenon frieze perceived perience personality Pheidias picture play pleasure poem poetry pression programme music purpose qualities Raphael realize relation Rembrandt render representative art response revealed rhythm Richard Strauss scope sense sensuous shaping significance sion Sistine Chapel skill Sower spirit technical technique thing thought tion Titian tive tree true truth ture understand unity vidual vision wakens Walter Pater Whistler whole
Beliebte Passagen
Seite 180 - The charming landscape which I saw this morning, is indubitably made up of some twenty or thirty farms. Miller owns this field, Locke that, and Manning the woodland beyond. But none of them owns the landscape. There is a property in the horizon which no man has but he whose eye can integrate all the parts, that is, the poet.
Seite 206 - Hark, hark! the lark at heaven's gate sings, And Phoebus 'gins arise, His steeds to water at those springs On chaliced flowers that lies; And winking Mary-buds begin To ope their golden eyes: With every thing that pretty is, My lady sweet, arise: Arise, arise.
Seite 39 - All architecture is what you do to it when you look upon it, (Did you think it was in the white or gray stone ? or the lines of the arches and cornices?) All music is what awakes from you when you are reminded by the instruments...
Seite 192 - Earth has not anything to show more fair : Dull would he be of soul who could pass by A sight so touching in its majesty: This City now doth, like a garment, wear The beauty of the morning; silent, bare, Ships, towers,, domes, theatres, and temples lie Open unto the fields, and to the sky; All bright and glittering in the smokeless air.
Seite 192 - Ne'er saw I, never felt, a calm so deep! The river glideth at his own sweet will: Dear God! the very houses seem asleep; And all that mighty heart is lying still!
Seite 223 - The greatest poet even cannot say it ; for the mind in creation is as a fading coal, which some invisible influence, like an inconstant wind, awakens to transitory brightness ; this power arises from within, like the colour of a flower which fades and changes as it is developed, and the conscious portions of our natures are unprophetic either of its approach or its departure.
Seite 192 - Dull would he be of soul who could pass by A sight so touching in its majesty: This City now doth, like a garment, wear The beauty of the morning; silent, bare, Ships, towers, domes, theatres, and temples lie Open unto the fields, and to the sky; All bright and glittering in the smokeless air. Never did sun more beautifully steep In his first splendour, valley, rock, or hill; 10 Ne'er saw I, never felt, a calm so deep!
Seite 142 - And the function of the aesthetic critic is to distinguish, to analyse, and separate from its adjuncts, the virtue by which a picture, a landscape, a fair personality in life or in a book, produces this special impression of beauty or pleasure, to indicate what the source of that impression is, and under what conditions it is experienced.
Seite 151 - ... will treat such a subject with nothing but the most plain, first-hand, almost austere naturalness. His expression may often be called bald, as, for instance, in the poem of Resolution and Independence; but it is bald as the bare mountain tops are bald, with a baldness which is full of grandeur. Wherever we meet with the successful balance, in Wordsworth, of profound truth of subject with profound truth of execution, he is unique.
Seite 94 - Hers is the head upon which all 'the ends of the world are come,' and the eyelids are a little weary. It is a beauty wrought out from within upon the flesh, the deposit, little cell by cell, of strange thoughts and fantastic reveries and exquisite passions.