The Architecture of Humanism: A Study in the History of TasteDoubleday, 1956 - 197 Seiten |
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Seite 55
... experience . Every experience of art contains , or may contain , two elements , the one direct , the other indirect . The direct element includes our sensuous experience and simple perceptions of form : the immediate apprehension of the ...
... experience . Every experience of art contains , or may contain , two elements , the one direct , the other indirect . The direct element includes our sensuous experience and simple perceptions of form : the immediate apprehension of the ...
Seite 58
... experience . It may begin as a sensuous perception , but as such it is necessarily more transient and occasional than its remembered significance , and more isolated and particular than when fused by reflection with the rest of our ...
... experience . It may begin as a sensuous perception , but as such it is necessarily more transient and occasional than its remembered significance , and more isolated and particular than when fused by reflection with the rest of our ...
Seite 158
... experience a certain discomfort from their presence . So much will be conceded . Now what is the cause of this discomfort ? It is often suggested that the top - heavy building and the cramped space are ugly because they suggest the idea ...
... experience a certain discomfort from their presence . So much will be conceded . Now what is the cause of this discomfort ? It is often suggested that the top - heavy building and the cramped space are ugly because they suggest the idea ...
Inhalt
Introduction | 15 |
ONE Renaissance Architecture | 25 |
Two The Romantic Fallacy | 40 |
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The Architecture of Humanism: A Study in the History of Taste Geoffrey Scott Eingeschränkte Leseprobe - 1999 |
Häufige Begriffe und Wortgruppen
academic achieved æsthetic value aissance antique archi argument artistic baroque architects beauty Bramante Brunelleschi builders building century character chitecture civilisation classic classic architecture coherence confused conscious construction criticism of architecture cult delight distinct dome effect elements Empire style ethical criticism experience expression fact false favour forms give Gothic Gothic revival Greek human humanist ideal ideas imagination imitation influence insistent instinct intellectual Italian Italy JACQUES BARZUN laws less literary logic mass material means mechanical mediæval ment mind modern moral Nature ourselves painting Palladio past period physical picturesque pleasure poetic poetry practical prejudice principle proportion qualities quattrocento realised recognise relation Renais Renaissance architecture Renaissance style Roman architecture Romantic Fallacy Romantic Movement Romanticism Rome Ruskin sance satisfy scientific sculpture sense sequence space spirit Stones of Venice structure taste tecture things thought tion tradition true tural ture Vitruvian Vitruvius W. H. AUDEN