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 113
... mind approaching irrational matter . The polarity is found in both mind and nature . In both we observe constancy and change , repetition of the equal and diversity of the individual , the necessity of law and the irra- tionality of ...
... mind approaching irrational matter . The polarity is found in both mind and nature . In both we observe constancy and change , repetition of the equal and diversity of the individual , the necessity of law and the irra- tionality of ...
Page 168
... mind , and the possibility cannot be excluded that the kind of picture he is permitted to make may , in turn , influence the state of mind he is in . Un- questionably the modern methods have given an outlet to aspects of the child's mind ...
... mind , and the possibility cannot be excluded that the kind of picture he is permitted to make may , in turn , influence the state of mind he is in . Un- questionably the modern methods have given an outlet to aspects of the child's mind ...
Page 274
... mind . It merely presupposes a kind of openness , which , for example , a depressed person may not have . It strikes us as color does . Shape , on the contrary , seems to require a more active response . We scan the object , establish ...
... mind . It merely presupposes a kind of openness , which , for example , a depressed person may not have . It strikes us as color does . Shape , on the contrary , seems to require a more active response . We scan the object , establish ...
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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