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 12
... pictorial composition . According to this principle , the weight of a pictorial element increases proportionally to its distance from the center of balance . Although this is probably true , it must be kept in mind that pictorial ...
... pictorial composition . According to this principle , the weight of a pictorial element increases proportionally to its distance from the center of balance . Although this is probably true , it must be kept in mind that pictorial ...
Page 135
... pictorial representations cannot be described and understood simply by their distance from the object they purport to portray . Rather must they be re- lated , on the one hand , to the experience they reflect and , on the other , to the ...
... pictorial representations cannot be described and understood simply by their distance from the object they purport to portray . Rather must they be re- lated , on the one hand , to the experience they reflect and , on the other , to the ...
Page 192
... pictorial space emancipated itself from the wall and created deep vistas , a clear visual distinction became necessary between the physical space of the room and the world of the picture . This world came to be con- ceived as endless ...
... pictorial space emancipated itself from the wall and created deep vistas , a clear visual distinction became necessary between the physical space of the room and the world of the picture . This world came to be con- ceived as endless ...
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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