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"the work of art is finished, in himself at rest andyourself existing the whole effect and opposes the latter asan independent reality in nature. In artwork formbeing exists only as a reality effect. Artwork, perceiving nature as the relationship between motordirections and visual impressions, is exempt from allrandom variable and" (Ibid. P. 24). This emphasis on formbrought to the limit, taking the place of polar sociological approach toart. "form of existence becomes a form of influence, and the latterfree from measurable actual content. Separate values of the formbeing grouped in the values of exposure" (ibid. P.36). A. Hildebrant trying to distinguish between two concepts -- the form of life andform of influence. First-this is the real existence of the object, the second --the audience's impression. form of life really belongs to the object. "Formimpact encompasses the specific submission of the form toa particular visual impression and there is therefore the starting point fora submission of the form, which holds certain visualthe impression, in contrast to the representation of form of being as simplethe result forms, freed from the visual impression" (ibid.P. 87). Reinforcing this opposition, he States further: "neither the architectneither sculptor are not artists, as long as they convey realthe form thing on its own, i.e. a simple form of being; they become artistsonly when take and depict a form of influence ..." (Theresame).
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