About This Book
The author advances a compact formalist theory arguing that what makes visual objects art is their arrangement of line, colour, and form into configurations that generate a distinctive aesthetic emotion, which he calls significant form. He tests this hypothesis against historical and contemporary examples, sketches a concise history of artistic development, and examines debates around Post-Impressionism. The book clarifies critical terminology, weighs the relation between essential and incidental elements in artworks, and reflects on the critic's and artist's roles, acknowledging counterarguments encountered in debates with contemporaries.
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