Art and Visual Perception: A Psychology of the Creative EyeSince its first publication in 1954, this work has established itself as a unique classic. It applies the approaches and findings of modern psychology to the study of art: it describes the visual process that takes place when people create- or look at- works in the various arts, and explains how the eye organizes visual material according to definite psychological laws. Fresh in thought, clean in style, this book is a highly readable contribution to the study of aesthetics. It could be recommended as an excellent introduction to the psychology of perception, however, it is the art lover, whether psychologist or not, who will find this book the most rewarding. -- from Book Jacket. |
From inside the book
Results 1-3 of 83
Page 273
... color ; on the other hand , the expressive impact of color cannot be obtained by shape . Shape yields an immense variety of clearly distinguishable patterns , as faces , leaves , and fingerprints demonstrate . Shape rather than color is ...
... color ; on the other hand , the expressive impact of color cannot be obtained by shape . Shape yields an immense variety of clearly distinguishable patterns , as faces , leaves , and fingerprints demonstrate . Shape rather than color is ...
Page 277
... color in the direction of another color . A bluish yellow or red tends to look cold , and so does a yellowish red or blue . On the contrary , a reddish yellow or blue seems warm . My contention is that not the main color but the color ...
... color in the direction of another color . A bluish yellow or red tends to look cold , and so does a yellowish red or blue . On the contrary , a reddish yellow or blue seems warm . My contention is that not the main color but the color ...
Page 284
... color solids , all agree in having their maximum girth at medium height and tapering off toward the poles . The reason is that in the medium range of brightness all colors show the greatest number of saturation steps between the pure ...
... color solids , all agree in having their maximum girth at medium height and tapering off toward the poles . The reason is that in the medium range of brightness all colors show the greatest number of saturation steps between the pure ...
Other editions - View all
Common terms and phrases
angle appear artist balance baroque blue body brightness Cézanne child circle color complementary colors complete composition contour convergence created cube cubists dancer dark depth deviation dimension direction disk distance distortion drawing dynamic effect elements example experience expression face fact factors figure-ground forces front frontal plane geometric ground horizontal hues human figure kinesthetic light look Matisse means medium Meyer Schapiro motion move movement nature object oblique observer organization orientation over-all overlapping painter painting pattern pattern of forces perceived perceptual phenomenon physical pictorial picture principle produce projection psychological psychologists rectangle Rembrandt representation represented result retinal Rorschach sculpture seems seen shadow shape similar simple simpler simplest simplicity space spatial square stage stimulus stroboscopic structure surface symmetry tension theory things three-dimensional tilted tion triangle two-dimensional units vanishing point vertical vision visual concept visual field visual perception whereas whole yellow