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www.lizi.twazyartists.”heless,thefactreinsthat
orthodoxepaintingisdionysianinitsinandinspiration,andthatthe
suoseeanythinghoutanaked,oearlynaked,
hunbodyinit.bolizesspringbyafatand
bolizesitbyadanyhha
faunchasingafterher.andheesepainterdelightinthefinelinesof
acicadasbsofthecricket,thegrasshopperandthefrog,and
theplatesuchpicturesonhishntinual
delight,theepainterotbesatisfiedhanythihanhenners
liseuseordeleine.
thisdisveryofthehunbodyis,today,ohestpotentinfluencesof
ecivilizationina,foritgesthelookoflifeby
ustbecalleda
greekiherenaissance
anbodyanditsheartyavohatlifeisbeautiful.agreatpartof
theanistioughhoutanygreekinfluethe
proanbodyisbeautifulhasbeenstrangelylagina.
once,hoanbody,
likelytetit.thisdisveryofthehunbodyandaleforbr >
isboundtobeastpotentinfluencebecauseitislinkeduphohestro
ofhuninstinuchaseseartisaughtin
stoftheostoftheartschools.theyareallpying
feleanatofroundelsorfrolasterfiguresofclassicalgreekand
ronsinthehe
nude,foroeartistsregardthehunbodyiration,
andoeartistsakethepleaatallthean
bodyissensual,andnecessarilyso.realeuropeanartistsdohefact,but
proadeagainsteseart.but
heroot,thetrendhassetinandisnotlikelytobestopped.
iv,architecture
natureisalanarchitectureusuallyisactforunlikepainting,
arpttopynature.architectureatter
ofstonesandbriaerfroindandrain.
itsfirstprincipleility,andisoftenpurelysoeventothisday.hehe
untigateduglinessofthebestdefactorybuildings,schoolhouses,theatres,
postoffices,railations,ailireets,s
forthefactthatantlyfeeltheoescapetotheuntryfreatest
differeanndistheinfinite
rielitationsenuity.thebesthunnd
otianythingbesidesblockhouses,ouldings,a
rotundahereandatriangulargablethere.thestiressiveusoleur
rialotpareutilatedand
disinfeais,eertoput
thehere.yethouredaresifthesetreeshtheirroughsurfadirregular
shapeshadbeentheproduanarchitect,he
ar.natureeveopaireesgreen.weareafraid
ularity.edtheword
”drab”todescribeouroence.
ind,succeededin
produodepaventsand
reer
resortsutilityistheansodeindustrialagehas
aggravatedthesituation,especiallyhtheiionofreinforcrete.thisisa
syoloftheindustrialage,anditodeindustrial
ostoftheebuildingshavefotteoputonaroof,
because,ehaveevenprofessedtoseeaninspiring
beautyintheneseenany.theirbeautyisthe
beautyofgold:theyarebeautifulbecausetheysuggestthepoillions.they
expressthespiritoftheindustrialage.
yetbecauseolookatthehouseswebuildforourselveseverydayandhave
tospendstofourdaysintheandbecausebadarchitecturecrathestyle
ofourliving,thereisaveryhuokeitbeautiful.verysubtlythe
housesgethefaceofourtoies.aroofisnotjustarooftoshelterus
frounandrain,butsothingthataffee,adoorisnot
justanopeningtogetishouldbethe”opehatleadsusintothe
steriesofpeoplesdosticlives.afterall,itkessodifferenceherwe
knoilionpaiehgoldenhobs
onit.
theprobleshoakethebridrtaraliveahelanguageof
beauty.hoitakeitsaysothingtous,as
europeanedhaspiritandspeakasilentlanguageofthe
greatestbeautyandsublitytousletusseehohebestofesearchitecture
triedtosolvethisproble
thatofthe
aintendenonyanycasesithas
suthesprig
ofplulosso梩ranslatedfirstintotheving,livinglinesofcalligraphyand
sendarilyintothelinesandforofarchitecture.ithassupplehisbythe
nstantuseofsyolictives.andithas,throughthepre
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