Sentence examples for pictorial feeling from inspiring English sources

Exact(1)

In "The Non-Objective World," a manifesto from 1926, he wrote, "The new art of Suprematism, which has produced new forms and form relationships by giving external expression to pictorial feeling, will become a new architecture: it will transfer these forms from the surface of canvas to space".

Similar(52)

Such paintings are redolent of a poetic melancholy that hints at the decay of Song culture, and the pictorial expression of this feeling is often rather conventional.

"I am never concerned with pictorial logic to the exclusion of feeling," he wrote.

Gauguin no longer used line and colour to replicate an actual scene, as he had as an Impressionist, but rather explored the capacity of those pictorial means to induce a particular feeling in the viewer.

The tale has the consistency of baby pablum, but there's real beauty and pictorial wit here, along with a feeling for the art and for the freedom of animation.

The movement's name originated from a quote of Malevich's, in which he stated that the movement would inspire the "supremacy of pure feeling or perception in the pictorial arts".

The tale has the consistency of baby pablum — it's nutritious and easy on the gums — but there's enough beauty and pictorial wit here from opening to end credits, enough feeling for the art and for the freedom of animation, that you may not care.

Whether or not he had profundity in his nature, he understood that pictorial effect relied on more than simply the expression of feeling – piety and delight were not incompatible.

These enable the viewer to virtually hold and manipulate a digital facsimile of the Crane Scroll, Koetsu's most famous collaboration with Sotatsu (which will be part of the September rotation), and his black and rust raku "Shichiri (Seven Leagues)" tea bowl, feeling the textures and asymmetries of its surface while observing the pictorial subtleties of its glaze on a small screen.

It was in 1905, in the Mediterranean town of Collioure, that Matisse, in close collaboration with André Derain, combined pointillist color and Cézanne's way of structuring pictorial space stroke by stroke to develop Fauvism — a way less of seeing the world than of feeling it with one's eyes.

Both he and Lester del Rey were put off by the film's feeling of sterility and blandness in all the human encounters amidst all the technological wonders, while both praised the pictorial element of the movie.

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