Proportion and harmony of line and color in painting, sculpture, and architecture; an essay in comparative aesthetics (1909)
Raymond, George Lansing, 1839-1929 · New York, London, G. P. Putnam's sons · leaf 135
hetheories of some modernartists and critics who holdthat because, in Greek art,the face, as a rule, is com-paratively expressionless, itshould be so in modern art.Here is one of those abund-ant instances in which cir-cumstances alter cases. Onereason why Greek art wasgreat is because it wastrue to… … FIQ.48.—FARNESE HERCULES, BY QLYCONTHE ATHENIAN. See page 97. GREEK CONCEPTION OF HUMAN FORM. 95 Greek artists were un-doubtedly surmountedby ugly faces. TheGreek did not believein ugliness anywhere;and for this reason, in[place of the faces thathe found, he may have^substituted his con-ventional…
Aesthetics
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