. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. ound-ing him ? Do rectangles withtheir straight, parallel sides (devel-oped from angularity, page 56), as inbuildings and in so many other ob-jects made by men, invariably suggestresults of construction, and, there-fore, of reflection expended uponthem ? Nor are such suggestionsconfined to objects with reference towhich a mans interference with thenormal action of nature is unmistak- p|Q 3^ _f^^ attackable. By way of association, the See pages 62,145,167,171,horizontal hilltop, the .
. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. ound-ing him ? Do rectangles withtheir straight, parallel sides (devel-oped from angularity, page 56), as inbuildings and in so many other ob-jects made by men, invariably suggestresults of construction, and, there-fore, of reflection expended uponthem ? Nor are such suggestionsconfined to objects with reference towhich a mans interference with thenormal action of nature is unmistak- p|Q 3^ _f^^ attackable. By way of association, the See pages 62,145,167,171,horizontal hilltop, the . per-pendicular cliff, the pointed peak, cause us to think andoften to say that they look precisely as if a man hadbeen at work upon them, levelling or blasting. Fewnatural objects, indeed, have outlines absolutely straightor angular ; but always, in the degree in which they areso, the impression naturally produced by curves, whichis that of a growth outward from normal vitality within,is lessened. We feel that life has in some way beenliterally blasted. As a rule, it is the great convulsions5. 66 PAINTING, SCULPTURE, AND ARCHITECTURE. of nature, whether produced by fire, frost, wind, orearthquake, that leave behind them, if their progress canbe traced at all, such results of crystallizing, cracking, andrending, as are manifested in straight lines and these at the left of Fig. 32, page 6^. No wonder,therefore, that wherever seen they are associated in ourminds with the work of extraneous force acting upon theforms from the outside, as the volcano does when it rendsthe rocks and throws the lava through and over them, andas the tempest does, when it bends the trees and tears offtheir branches. Notice, again. Fig. 17, page 43. Now let us consider the possibilities of emotive effectsbetween these two extremes of form (see page 11). When,notwithstanding curves or angles, the general appearanceof a shape approximates that of straight, parallel lines, itmust be then (s
Size: 1337px × 1869px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookpublishernewyorkgpputnamsso
