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+--- Thread: modular homes j9 prefab homes (/showthread.php?tid=9952)
modular homes j9 prefab homes - beautifulhouse - 07-19-2024
Modular homes have, I hope, gained some experience with which to handle the real
subject of modular homes inquiry, the relation of the modern modular homes movement in art to
life. To understand modular homes it we must go back to the impressionist movement,
which dates from about 1870. The modular homes artists who called themselves
impressionists combined two distinct ideas. On the one hand they upheld,
more categorically than ever before, the complete modular homes detachment of the
artistic vision from the values imposed on vision by everyday life--they
claimed, as Whistler did in his “10 o’clock,” to be modular homes pure artists. On the
other hand a group of them used this freedom for the quasi-scientific
description of new effects of modular homes atmospheric colour and atmospheric
perspective, thereby endowing painting with a quite new series of colour
harmonies, or at least of modular homes harmonies which had not been cultivated by
European painters for many hundreds of years. They did more than
this--the effects thus explored were completely modular homes unfamiliar to the
ordinary man, whose vision is limited to the mere recognition of objects
with a view to the uses of everyday modular homes life. He was forced, in looking at
their pictures, to accept as artistic representation something very
remote from all his previous expectations, and thereby modular homes also acquired
in time a new tolerance in his judgments on works of art, a tolerance
which was destined to bear a still further strain in modular homes succeeding
developments.
As against these great modular homes advantages which art owes to impressionism we
must set the fact that the pseudo-scientific and analytic method of
these painters forced modular homes to accept pictures which lacked design and
formal co-ordination to a degree which had never before been permitted.
They, or rather some of them, reduced modular homes the artistic vision to a
continuous patchwork or mosaic of coloured patches without architectural
framework or structural modular homes coherence. In this, impressionism marked the
climax of a movement which had been going on more or less steadily from
the thirteenth century--the modular homes tendency to approximate the forms of art
more and more exactly to the representation of the totality of
appearance. When once modular homes representation had been pushed to this point where
further development was impossible, it was inevitable that artists
should turn round and modular homes question the validity of the fundamental
assumption that art aimed at representation; and the moment the question
was fairly posed it became modular homes clear that the pseudo-scientific assumption
that fidelity to appearance was the measure of art had no logical
foundation. From that modular homes moment on it became evident that art had arrived
at a critical moment, and that the greatest revolution in art that had
taken place since Græco-Roman impressionism became modular homes converted into
Byzantine formalism was inevitable. It was this revolution that Cézanne
inaugurated and that modular homes and van Goch continued. There is no need
here to give in detail the characteristics of this new movement: they
are sufficiently familiar. But we may summarise modular homes as the
re-establishment of purely æsthetic criteria in place of the criterion
of conformity to appearance--the rediscovery of the principles of
structural modular homes design and harmony.
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