Art and Visual Perception: A Psychology of the Creative Eye |
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Page 216
A Psychology of the Creative Eye Rudolf Arnheim. In addition to the indicators of space just mentioned , reference is often made to the sense of touch . We do not perceive depth and volume by vision alone . We walk through space , we ...
A Psychology of the Creative Eye Rudolf Arnheim. In addition to the indicators of space just mentioned , reference is often made to the sense of touch . We do not perceive depth and volume by vision alone . We walk through space , we ...
Page 221
... space ranges somewhere between two extreme situations . At the one extreme , it is equal to its projection upon a two - dimensional surface . The world is flat and lies in a frontal plane . Consequently objects located at different ...
... space ranges somewhere between two extreme situations . At the one extreme , it is equal to its projection upon a two - dimensional surface . The world is flat and lies in a frontal plane . Consequently objects located at different ...
Page 222
A Psychology of the Creative Eye Rudolf Arnheim. space a ||||| Figure 208 b in the framework indicated by the dotted parallels . In b they are unequal for the corresponding reason . This observation is true in Euclidean space , in which ...
A Psychology of the Creative Eye Rudolf Arnheim. space a ||||| Figure 208 b in the framework indicated by the dotted parallels . In b they are unequal for the corresponding reason . This observation is true in Euclidean space , in which ...
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angle appear artist balance baroque blue body brightness Cézanne child circle color complementary colors complete composition contour convergence created CRUZ The University cube cubists dancer dark depth deviation dimension direction disk distance distortion drawing dynamic effect elements example experience expression fact factors figure-ground forces front frontal plane geometric ground horizontal hues human figure kinesthetic light look Matisse means Meyer Schapiro motion move movement nature object oblique observer organization orientation over-all overlapping painter painting pattern pattern of forces perceived perceptual 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 structural surface symmetry tension theory things three-dimensional tilted tion triangle two-dimensional units University Library vanishing point vertical vision visual concept visual field visual perception whereas whole yellow