Art and Visual Perception: A Psychology of the Creative Eye |
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Page 77
... true for pictures — even the most " lifelike " ones — because the depth effect is reduced and therefore constancy of shape is quite incomplete . The power of all visual representation derives from the properties directly inherent in the ...
... true for pictures — even the most " lifelike " ones — because the depth effect is reduced and therefore constancy of shape is quite incomplete . The power of all visual representation derives from the properties directly inherent in the ...
Page 92
... true . As far as we can judge from written documents that have come down to us from the past , works of art have always been thought of as faithful replicas of the real things . The greatest praise bestowed on them consisted in accounts ...
... true . As far as we can judge from written documents that have come down to us from the past , works of art have always been thought of as faithful replicas of the real things . The greatest praise bestowed on them consisted in accounts ...
Page 374
... true content of the work and to sugar - coat the repulsive ingredients of the pill by external " beauty . " In opposition to Freud's view of dream symbols , Jung has main- tained that symbols reveal rather than veil the message . " When ...
... true content of the work and to sugar - coat the repulsive ingredients of the pill by external " beauty . " In opposition to Freud's view of dream symbols , Jung has main- tained that symbols reveal rather than veil the message . " When ...
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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 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 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 yellow blue