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Lenno periods-a gesture repertoire, the infant, another
the child, then (after the well-known "transitional age" when all children
are amazingly uncomfortable), again completely different from boys and
girls, after acquired "respectability," finally comes the senile
infirmity" (Ibid. P. 76). He also finds in every human
the team has its own repertoire of movements. Today you can see the continuation
this direction in this work of Marcel moss, as "Techniques of the body"
(M. Mauss Techniques of the body // moss M. Society. Exchange. Personality. M.,
1996). Or in some works of Lotman (e.g., Lotman
Y. M. the Poetics of everyday behavior in Russian culture of the XVIII century //From the
the history of Russian culture. - I. IV. - M, 1996).
Offering a General model of the development of art, F. Schmitt sees it
the pursuit of obsequiousness, observatori that explains trends
modern pop culture as the displacement of the TV all other
arts. In painting he does not see the flatness of the images themselves, and
"summation of in-plane-how to mosaic mapping in the plane --
point feature delivered direct perception, and lines
is the primary product of this summation" (ibid. P. 49). And
then there is "the unity of the point of view of the painter and the mandatory elected
the artist perspective for the viewer -- is as characteristic for
painting, as flatness" (ibid.P.49).
At the end of the book is F. Schmidt comes to the notion of conditional prospects,
considering Chinese and Japanese painting, "reverse" and "direct"
prospects. While examples of reverse perspective, he also finds
the art of the Mediterranean world (P. 148). Enough detail it
examines ancient Egyptian painting, where, he believes, "interest
Egyptian painter focuses on the General contour lines: anything that the artist
has to say about each figure, stated in its General silhouette, at least
this had very much to retreat from the visible Reality and
even likelihood" (Ibid. P. 109). For this age is typical
the use of multiple points of view: "when the Egyptians depicts a man
he draws the face and legs in profile, eye and chest in the front, and the torso in three-quarter,
but every part of it draws
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