. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. nd for tole-rating which, therefore, he feelsaccountable. Notice the uneasybut ambitious face in Fig. 107,page 174. But if the brow be inadvance, this indictes a mentalapprehension of opposition anddifficulty without force for physicalresistance. In this case the sub-jects may be conceived in manydifferent ways, as deeply sorrowful(Fig. 108, page 174), as deeply per-plexing (Fig. 109, page 175), as frightful (Fig. 129, page 186),or as dangerous (Fig. 126, page 184). The leaning of thehead sidew
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. nd for tole-rating which, therefore, he feelsaccountable. Notice the uneasybut ambitious face in Fig. 107,page 174. But if the brow be inadvance, this indictes a mentalapprehension of opposition anddifficulty without force for physicalresistance. In this case the sub-jects may be conceived in manydifferent ways, as deeply sorrowful(Fig. 108, page 174), as deeply per-plexing (Fig. 109, page 175), as frightful (Fig. 129, page 186),or as dangerous (Fig. 126, page 184). The leaning of thehead sideward as well as forward, with the eyes downward,indicates a sympathetic bias. But whether this bias be infavor of a man or against him—especially as the eyes arenot always visible—must be made out from the facial ex-pression. Thus the face of the John, in Fig. 92, page i 50,indicates love exercised toward Peter ; but with referenceto a subject conceived to be below sight, conception, orcontrol, and therefore capable of being understood andmastered, if necessary. The leaning of the head of the. FIG. 105.— page 172. i;4 PAINTING, , AND ARClflTECTURE. uoniaii ill l^i^;. 80, l)ay;c 139, expresses confidence in theChrist, toi^ether with a consciousness of shame in view ofconduct which, as it was under her control, she mighthave avoided. If, with the head still thrust forward, the eyes look up-ward, one conceives of the subject of thought as social!}-,intellectually, or morall} above his sight, ciMiception, orcontrol. The position in connection with a calm, non-excited expression of countenance indicates, if the chinbe in advance, submission, with reference mainly to vitalconditions, as in Fig. 82, page 143 ; if the brow be forward,
Size: 1465px × 1705px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookpublishernewyorkgpputnamsso
