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21 de jun. de 2021 · Clive Bell is the perennial supporting character in the biographies of the Bloomsbury Group. The husband of Vanessa Bell, brother-in-law of Virginia Woolf and friend of John Maynard Keynes and Lytton Strachey, he is often depicted as a witness to historical events rather than a participant in them, a sort of modernist Forrest Gump.
Clive Bell’s theory of “significant form” provided an approachable way for the British public to integrate their understanding of the new art into existing notions of art history and led to a severely diminished role for representation in visual art.
1 de mar. de 2020 · em março 01, 2020. A teoria da arte como forma significante, proposta por Clive Bell, partiu de um pressuposto acerca da natureza da arte. Esta teoría considera que não se deve começar por procurar aquilo que define uma obra de arte na própria obra, mas sim no sujeito que a aprecia. A teoria da arte como forma significante abandonou a ...
Clive Bell. Clive Bell (1881-1964) was a British art critic and philosopher of art who defended abstract art. Bell's aesthetic theory was focused on aesthetic experience. He claimed (in his book Art, 1914) that there is a certain uniquely aesthetic emotion, and that aesthetic qualites are the qualities in an object that evoke this emotion.
Clive Bell. Art critic and writer. Bell read history at Trinity College, Cambridge where he met Lytton Strachey, Leonard Woolf, Thoby Stephen and others later associated with the Bloomsbury group. He married Vanessa Bell in 1907, and their home at 46 Gordon Square was the focus of the group. With Roger Fry he arranged the first Post ...
6 de dez. de 2023 · Clive Bell and “Significant Form” For many modern artists (including Matisse and Denis), a concern with formal harmony was paired with other goals, such as emotional expression, spirituality, and social agency. Formalist art theory was therefore mostly developed by art critics, rather than by artists themselves.
1) O livro Art, de Clive Bell, defende que a arte é "forma significante", ou seja, uma combinação de linhas, formas e cores em certas relações capazes de provocar uma emoção estética. 2) Bell argumenta que a representação (o que uma pintura representa) é irrelevante para a apreciação da obra de arte. Apenas a forma em si importa. 3) Ele critica a "pintura descritiva" que transmite ...
