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
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Page 5
... described by its anatomy , so the essence of a visual experience cannot be expressed by inches of size and distance , degrees of angle , or wave lengths of hue . These static measure- ments define only the " stimulus , " that is , the ...
... described by its anatomy , so the essence of a visual experience cannot be expressed by inches of size and distance , degrees of angle , or wave lengths of hue . These static measure- ments define only the " stimulus , " that is , the ...
Page 34
... described ? The most accurate way would seem to be to determine the spatial locations of all the points that make up these features . This may be exemplified by a procedure highly recommended to the sculptors by the Renaissance ...
... described ? The most accurate way would seem to be to determine the spatial locations of all the points that make up these features . This may be exemplified by a procedure highly recommended to the sculptors by the Renaissance ...
Page 194
... described the phenomenon in purely static terms as to spatial location , contours , density ; but from the very beginning of this book I have insisted that all percepts are dynamic — that is , are described best as configurations of ...
... described the phenomenon in purely static terms as to spatial location , contours , density ; but from the very beginning of this book I have insisted that all percepts are dynamic — that is , are described best as configurations of ...
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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