An Analysis Of The Life Form In Art Classic Reprint

Excerpt from An Analysis of the Life-Form in Art Of every ichthyological cabinet. We could fill many pages with this kind of illus tration, but will content ourselves with referring to one, of the most curious of them. Leibnitz, who was gifted with a marvelous intellect in which it has been said. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In this captivating study, an influential scholar-artist offers timeless advice on shape, form, and composition for artists in any medium. Irma Richter illuminates the connections between art and science by surveying works of art from classical antiquity through the Modernist era. Richter shows the conscious and unconscious ways artists animated their works with geometric principles in an attempt to reconcile the realms of form and design. This book presents a simple method that can be employed for every kind of design—a method that underlies some of the greatest paintings of the Renaissance and was used by the architect of the Parthenon and the craftsmen of ancient Egypt. With research that leads to Florence, Chartres, Athens, and up the Nile Valley, the author surveys the geometric scheme behind the works of art of the past. Seventy-two images help illustrate the philosophical and religious significance connected with the artistic proportioning of space.

Excerpt from The Evolution of Life, or Causes of Change in Animal Forms: A Study in Biology The great question of The Evolution of Life upon the earth, and the causes that have led to the successive changes in animal forms, is one that should be treated from an anatomical and a physiological point of view. Scientists have hitherto spoken of these changes that have taken place, and have concurred in the opinion that the lower forms of life have advanced in the scale of development, and in time have given rise to higher and newer forms. It is believed and generally accepted that the protoplasmic cell was the first vital organism that appeared upon the earth - that, following this in order came the protozoans, the fishes, the reptiles, the marsupials, the mammals, the higher apes, and finally man, but no attempt has ever been made, as far as I know, to explain the physiological causes of these changes in the anatomy of the animal kingdom. It is only a part of the truth to say that a reptile was evolved from a fish, a mammal from a reptile, and man from the higher apes. But this is not enough. The world is advancing to that point when it demands to know [1010 these changes took place, by what physi ological process they occurred, and what was the reason that induced them to change. It is this great point that I have endeavored to explain, - how far, and how well I have succeeded, I leave others to judge. If any thing is left unsaid or unexplained it may serve as a stimulus to future writers to finish the work I have planned out. I have written this work from a physi. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Starting with the premise that the work of art is a gift and not a commodity, this revolutionary book ranges across anthropology, literature, economics, and psychology to show how the 'commerce of the creative spirit' functions in the lives of artists and in culture as a whole.

The anatomical structure of the male and female form under a variety of its conditions is illustrated for the student of anatomical drawing.

Excerpt from Evolution of Life Study, as also of acknowledging our indebtedness to Profs. Leidy and Aitken Meigs for their many favors and sug. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

Excerpt from The Mechanism of Life: In Relation to Modern Physical Theory IT is possible that the title of this book may be misleading to some readers, and so an explanation may, very appropriately, form the subject of this introduction. Well, then, by the mechanism of life is meant nothing more than the results of a scientific analysis of the activities of living animals. First, we must define what is meant by scientific method, and this is not at all di cult now that Einstein, Eddington, and the other relativists, have persuaded us to think about what we do when we investigate something scientifically. What we do, in that case, is to observe space-time coincidences in a four-dimensional manifold - that is really and actually our procedure, though it seems rather dreadful! It would be very inconvenient, also, to sustain oneself in this plane all the while, and so we proceed to let ourselves down to earth, so to speak. From the space coincidences that we observe (for instance, the coincidences of the top of a column of mercury in a barometer tube with certain marks on the adjoining scale) we infer space measurements, and from the coincidences of the hands of a clock with marks on the dial we infer time measurements. That simplifies the method a good deal. Then it is only the relations between series of space-time measurements that form the data of science (its differential equations), but that, again, is very trying, and so we assume that there are things in nature. These things are separated from each other, at the same instant of time, by intervals of space, while they are separated from each other, in the same space, by intervals of time. Thus we have something to lean up against and sustain ourselves in this rather di loult process of apprehending nature. The things that we regard as existing apart from each other in space and time are electrons. But just yet that is rather inconvenient, and so we regard our natural things as atoms and molecules in motion in an arbitrary three dimensional space and an arbitrary one-dimensional time. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

First published in 1916 in German, this important work has never been translated into English--until now. Simmel attacks such questions as "What do we see in a work of Art?" and "What do Rembrandt's portraits tell us about human nature?" This is a major work by a major thinker concerning one of the world's most important painters.