. Tanzen mit Helen Moller; ihre eigene Aussage ihrer Philosophie und Praxis und Lehre auf die klassischen griechischen Modell gebildet, und an die ästhetischen und hygienischen Anforderungen von heute, mit vierzig - drei volle Seite kunst Platten zu treffen;. nd Gefühl in Bezug auf die körperlichen gestureand Bewegung, und seine Kunst war genau verfolgt und criti-cized durch eine Menge von sehr anspruchsvollen Zuschauer, jede Abweichung von den schwersten whocondemned artisticseemliness und Zurückhaltung. Seine physische Konformation, seine Fairness von Proportion und sein Zustand hatte zu den anspruchsvollsten Standards zu comeup. Die Kunst des rythmicbalanc

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• Format: 1334 x 1873 px | 22,6 x 31,7 cm | 8,9 x 12,5 inches | 150dpi

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. Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day, with forty-three full page art plates;. nd feeling in terms of bodily gestureand movement, and his art was closely followed and criti-cized by a crowd of keenly discriminating spectators, whocondemned any departure from the severest artisticseemliness and restraint. His physical conformation, his fairness of proportion and his condition had to comeup to the most exacting standards. The art of rythmicbalance and that perfect co-operation of the muscleswhich results in graceful and harmonious movementshad to be studied and acquired under masters versed inthe Greek tradition. And all this beauty of form andmovement was to be, not an end in itself, but a mediumthrough which an intellectual and poetic appreciation ofGreek legend was to find expression. Nothing tangible which now exists upon the faceof the earth except the sculpture of the age of Myron, Fifty-five A most charming unstudied attitude enhanced by the simple drapery effect.The figure is an early Roman copy of a classic Greek original, from theGiustiniani Collection. . Our Debt to Classic Sculpture Phidias and Polyclitus can interpret for us the passion-ate and exalted sense of the beauty of form which wasthe heart of the life of the ancient Greeks. It is a beautyrealized by no other people, before or since. It has animmortal virtue, a flame-like efficacy for the spirit, whichcold erudition cannot supply; and if that flame be butonce kindled it is inevitable that we should be led straightback to those who knew what they sought. They soughtand found tranquillity, without which there is no beauty;and, learning to feel it, they were able to reproduce it inmarble—an inheritance for us, who feel tranquillity soslightly and so sorely need its inspiration! So we knowthat man once, in one country and one period, was con-fident,

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• bookcentury1900
• bookdecade1910
• bookpublisherl
• büchersubjekttanz