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The Objective Eye: Color; Form; and Reality in the Theory of Art

[PDF] The Objective Eye: Color; Form; and Reality in the Theory of Art by John Hyman at Arts-Photography

Description

All About Eve. Funny Face. Sunset Blvd. Rear Window. Sabrina. A Place in the Sun. The Ten Commandments. Scores of iconic films of the last century had one thing in common: costume designer Edith Head (1897ndash;1981). She racked up an unprecedented 35 Oscar nods and 400 film credits over the course of a fifty-year career.Never before has the account of Hollywoods most influential designer been so thoroughly revealedmdash;because never before have the Edith Head Archives of the Academy of Motion Picture Arts and Sciences been tapped. This unprecedented access allows this book to be a one-of-a-kind survey; bringing together a spectacular collection of rare and never-before-seen sketches; costume test shots; behind-the- scenes photos; and ephemera.


#2243830 in eBooks 2006-12-29 2006-12-29File Name: B004E9SN1G


Review
2 of 3 people found the following review helpful. Not very helpfulBy Harold RothI looked forward to reading this book. I was encouraged by the reviews and by the table of contents. But after spending the past several days with it. I have to say that I have gotten very little out of it at all. Perhaps it is because I do not have a background in philosophy and have not got a lot of patience for it. My background is in lit theory and art history. If you are an artist. I do not think you will find much that is helpful in this book. Its not that I expected anything practical. I expected a theorizing of the problems of depiction in art. including color and form. Instead. I found what seems to me like a lot of quibbling over. for instance. whether something looks like or represents something else. Yes. there is a difference. Does it actually matter? Maybe to philosophers it does. But to artists? I do not think so.3 of 6 people found the following review helpful. Thoroughly worth readingBy Peter G. BuckleyAt last we have a thorough going critique of the subjectivist position. This book is equally suited to those approaching the subject from the philosophical viewpoint and those who are active workers in the fields of visual representation.

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