The antique Greek dance, after sculptured and painted figures . Fig. 44. form more and more, though the Greeks rejected it for a long time because it was not strong looking. 82. On the whole, one can overlook the awkwardness and con-ventionality with which this ancient workis embarrassed for the sake of the under-lying truth. Coexistent with the Greekideal of exactness there is a singular con-tradiction, a spirit of routine which isdistinguished by respect for attitudes, certain movements,abandoned by the primitive artists, aretaken up again by second-class artistsand artisan
The antique Greek dance, after sculptured and painted figures . Fig. 44. form more and more, though the Greeks rejected it for a long time because it was not strong looking. 82. On the whole, one can overlook the awkwardness and con-ventionality with which this ancient workis embarrassed for the sake of the under-lying truth. Coexistent with the Greekideal of exactness there is a singular con-tradiction, a spirit of routine which isdistinguished by respect for attitudes, certain movements,abandoned by the primitive artists, aretaken up again by second-class artistsand artisans, who regarded them as thelast word in art. Looking at the three persons (Figs. 48, 49, 50), it is hard to say whether they are walking or running. The bodies are presented full face, with the weight on the leg that is. Fig 45. 50 THE MOVEMENTS IN GENERAL
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherl, booksubjectdance
