Dyer, T: On Imitative Art -

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Résumé :
Excerpt from On Imitative Art: Its Principles and Progress; With Preliminary Remarks on Beauty, Sublimity, and Taste The pleasure afforded by Imitation, 102. Imitation in Poetry and Art, 103. Arts in Space and Time, 104. Descriptions of personal beauty erroneous, 105. Descriptions Of landscape, 106; avoided by the Ancients, 107. Descriptions of houses, &c., 108. Divisions Of Art, 109 the Moment in Art, 110. Lessing's Theory, 111. Choice Of the Moment, 112; Should Show the highest degree Of emotion, 113. Les Sing's theory of transitory emotion, 114. Niceties in the Moment, 115 the principal figure, 116. Double Moments, 117. Instances 118 sqq. Raphael's Transfiguration, 121; the chief actor, 122 Peruzzi's Pre sentation Of the Virgin, 123. Invention in painting, 124; the Scene, 125 sq. Landscapes with figures, 127. Painting best for an his torical action, 128. Attalus groups, 129 sq. Size in sculpture, 131. Colossal statues, 132. Size in painting, 133. Relative size, 134; small groups, 135. Pedimental sculptures, 136. Beauty and Expres sion, 137. Theories of Winckelmann and Lessing, 138 sq. Physical Agony, 140. Modified expression false, 141. Laocoon no criterion, 142. Expression in early Art, 143 sq. Claims of Beauty and Expres sion, 145. Painting best for mental agony, 146. Analogy Of Archi tecture and Art, 147; their differences, 148. Gothic cathedrals, 149. Architectural utility and beauty, 150. Round buildings, 151; domes, 152. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.