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 77
... tion . This perceptual tendency often produces satisfactory results . A sphere is in fact what its aspect promises it to be . To some extent this is true also for the human body . The whole volume roughly bears out the suggestion made ...
... tion . This perceptual tendency often produces satisfactory results . A sphere is in fact what its aspect promises it to be . To some extent this is true also for the human body . The whole volume roughly bears out the suggestion made ...
Page 137
... tion , is the simplest visual pattern . We know that perception spontaneously tends toward roundness when the stimulus gives it leeway to do so . The perfection of circular shape attracts attention . For example , the roundness of the ...
... tion , is the simplest visual pattern . We know that perception spontaneously tends toward roundness when the stimulus gives it leeway to do so . The perfection of circular shape attracts attention . For example , the roundness of the ...
Page 337
... tion of one kind of perceptual experience ( locomotion ) upon another . Rather , we are confronted with a perceptual phenomenon in its own right , directly inherent in what we see . What , then , is its psychological origin and condi- tion ...
... tion of one kind of perceptual experience ( locomotion ) upon another . Rather , we are confronted with a perceptual phenomenon in its own right , directly inherent in what we see . What , then , is its psychological origin and condi- tion ...
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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