. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. AND FEAR. Seepages 179, 181, 1S4, 186, 189. FIG. RAGE. See pages 175,i76,178,181, 182, 183, 186, 189. can be no doubt of the physical menace imparted by thefirm-set teeth, and the lowering and knit are sometimes accompanied by an opening mouth(Fig. 121, page 181), and sometimes by rigidly swellingnostrils (Fig. 122, page 181), both serving to give greaterbreadth of effect. They seem to give this because, whilethe physical and mental natures are ga
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIQ. AND FEAR. Seepages 179, 181, 1S4, 186, 189. FIG. RAGE. See pages 175,i76,178,181, 182, 183, 186, 189. can be no doubt of the physical menace imparted by thefirm-set teeth, and the lowering and knit are sometimes accompanied by an opening mouth(Fig. 121, page 181), and sometimes by rigidly swellingnostrils (Fig. 122, page 181), both serving to give greaterbreadth of effect. They seem to give this because, whilethe physical and mental natures are gathering, and, as itwere, girding their powers for the conflict, the emotivenature is still wide open to the influences from without,and drawing into the soul everv draft of insult like the 182 PAIN7^1 NG, SCULPTURE, AND ARCHITECTURE. breath on which it is freighted, to help fan the flame < Iindignation. It is possible, again, to give to the face the more subtlymental effect of a finger gesture. Notice the puckering ofthe lips, as if pointing to an object, when one is uttering theexpression, w
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