The Problem of Form in Painting And Sculpture
The Problem of Form in Painting And Sculpture
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In our eReader you can find the full English version of the book. Read The Problem of Form in Painting And Sculpture Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book The Problem of Form in Painting And Sculpture
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Subjectively, foreshortening always means a re- trogressive movement. It may however have the effect of arousing an idea of for- The problem of ^^^^ movement when, for in- stance, the actual movement in the body represented chances to be to- ward the observer. An example would be that of a figure which bows towards one. The foreshortening can here be read off, as it were, both from front to back and from back to front. If we imagine the act of bowing, we naturally feel a tendency to read off in... the direction of the forward movement. Considered, however, as a fixed visual impression of something objective to us, we should read the foreshortening most naturally from front to back. This, needless to say, is the more artistic method of conception. From what has gone before, it is clear that any forward tendency must work against and may even eliminate the general tendency of movement toward the depth in the picture.
And so this inartistic effect of the figure must be forward move- ments.
Digitized by VjOOQIC 68 HILDBBRAND : PROBLEM OP FORM.
What to read after The Problem of Form in Painting And Sculpture?
You can find similar books in the "Read Also" column, or choose other free books by Hildebrand, Adolf Von, 1847-1921 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
Subjectively, foreshortening always means a re- trogressive movement. It may however have the effect of arousing an idea of for- The problem of ^^^^ movement when, for in- stance, the actual movement in the body represented chances to be to- ward the observer. An example would be that of a figure which bows towards one. The foreshortening can here be read off, as it were, both from front to back and from back to front. If we imagine the act of bowing, we naturally feel a tendency to read off in... the direction of the forward movement. Considered, however, as a fixed visual impression of something objective to us, we should read the foreshortening most naturally from front to back. This, needless to say, is the more artistic method of conception. From what has gone before, it is clear that any forward tendency must work against and may even eliminate the general tendency of movement toward the depth in the picture.
And so this inartistic effect of the figure must be forward move- ments.
Digitized by VjOOQIC 68 HILDBBRAND : PROBLEM OP FORM.
What to read after The Problem of Form in Painting And Sculpture?
You can find similar books in the "Read Also" column, or choose other free books by Hildebrand, Adolf Von, 1847-1921 to read onlineMoreLess
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