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. |
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Page 155
... equal in size until a need for differentiation arises . Keeping this in mind , we shall not ask the traditional question : " Why do the size relationships in some representations not correspond to reality ? ” ; rather we shall ask ...
... equal in size until a need for differentiation arises . Keeping this in mind , we shall not ask the traditional question : " Why do the size relationships in some representations not correspond to reality ? ” ; rather we shall ask ...
Page 221
... equal ? Yes and no . Vanishing lines converge toward the altar , but at the same time all columns are of equal size and stand on parallel tracks . All this is seen directly , not derived from some calculation . In theory this sounds ...
... equal ? Yes and no . Vanishing lines converge toward the altar , but at the same time all columns are of equal size and stand on parallel tracks . All this is seen directly , not derived from some calculation . In theory this sounds ...
Page 284
... equal with regard to essential elements . ” Since he was not sure that brightness could be considered an essential element in this sense , he based his rules of harmony on either identity of hue or identical amount of satu- ration ...
... equal with regard to essential elements . ” Since he was not sure that brightness could be considered an essential element in this sense , he based his rules of harmony on either identity of hue or identical amount of satu- ration ...
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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