Resultado de búsqueda
Adrian Durham Stokes (27 October 1902 – 15 December 1972) was a British art critic with a speciality in early Renaissance sculpture and the aesthetics of stone-carving. He helped to turn the traditional Cornish fishing-port of St. Ives into an internationally acclaimed centre of modern art.
- 27 October 1902
- Magdalen College, Oxford
- 15 December 1972 (aged 70)
- British
Famous portrait of Adrian Stokes and Frances Grey, made by George Vertue in 1748. But recently identified as portrait of Mary Fiennes, Baroness Dacre and her son Gregory. Adrian Stokes (4 March 1519 – 3 November 1585) was an English courtier and politician. Stokes was probably a younger son of a gentry family from Prestwold ...
Adrian Stokes (1902 - 72) is the critic of the visual arts writing in English who has most influenced the thought and practice of artists themselves and of other writers on art.
31 de dic. de 2017 · "Adrian Stokes (1902-72) - aesthete, critic, painter and poet - is among the most original and creative writers on art of the twentieth century. He was the author of over twenty critical books and numerous papers: for example, the remarkable series of books published in the 1930s; The Quattro Cento (1932), Stones of Rimini (1934 ...
Adrian Durham Stokes (27 October 1902 – 15 December 1972) was a British art critic with a speciality in early Renaissance sculpture and the aesthetics of stone-carving. He helped to turn the traditional Cornish fishing-port of St. Ives into an internationally acclaimed centre of modern art.
Adrian Durham Stokes (27 de octubre de 1902 - 15 de diciembre de 1972) fue un crítico de arte británico especializado en la escultura del Renacimiento temprano y la estética de la talla en piedra. Ayudó a convertir el tradicional puerto pesquero de Cornualles de St. Ives en un centro de arte moderno aclamado internacionalmente.
Adrian Stokes (1902–72) — aesthete, critic, painter and poet — is linked to John Ruskin and Walter Pater as one of the greatest aesthetic thinkers in this English empirical tradition. This paper explores his insights on the reciprocity of colour and form in relation to architecture.
