Bauhaus-Universität Weimar

224 
PHYSIOLOGICAL ÆSTHETICS. 
lean, harsh, and angular limbs or features, constrained and 
graceless clothing, awkward postures and actions; heavy, 
ungainly, or shapeless animal forms, such as the bear, the 
cart-horse, the goose, and the slug ; flat and monotonous 
plains ; the still ocean unbroken by a winding shore or bluff 
headland, unrelieved by a ship with bellied sails or a tempest 
curling the breakers on the beach ; straight streets, plain 
rectangular houses, square windows, and flat façades destitute 
of arch or column, dome or portico. As to colour, we demand 
sufficient stimulation blended with due relief ; warm reds 
and oranges, not too strong, too massive, or too prominent ; 
delicate toning and harmony ; together with variety and fit¬ 
ness for the objects delineated. The drapery of historical 
paintings is selected with an eye to mixed effectiveness and 
harmony of hues ; sacred subjects, oriental pieces, and scenes 
of the XYIth, XVIIth, and XVIIIth centuries admit of 
gayer colouring as well as more graceful shapes than the 
ordinary incidents of modern life ; and amongst the latter, 
such are generally chosen as will give an opportunity for the 
introduction of bright female costumes, or else of court and 
military uniforms, while the present sombre and inartistic 
dress of men in every-day life almost defies pictorial repre¬ 
sentation. Landscape of course presents us with all the hues 
of natural scenery which it would be tedious again to par¬ 
ticularize. The choice of “ bits ” is one of the greatest tests 
of an artist’s natural taste. Autumn and sunset are the 
chosen seasons of the painter as well as the poet. Reds are 
far more common in art than in nature, and bright colours 
are lavished in considerable profusion. In short, all those
        

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