Art and Visual Perception: A Psychology of the Creative Eye / New Version,9780520243835

Art and Visual Perception: A Psychology of the Creative Eye / New Version

by
Edition: 2nd
ISBN13: 9780520243835
ISBN10: 0520243838
Format: Paperback
Pub. Date: 2004-10-01
Publisher(s): Ingram Pub Services
List Price: $32.95

Buy New

Special Order. We will make every effort to obtain this item but cannot guarantee stock or timing.
$32.92
Add to Cart

Buy Used

In Stock Usually Ships in 24-48 Hours
$24.71
Add to Cart

Rent Book

Select for Price
Add to Cart
There was a problem. Please try again later.

Rent Digital

Rent Digital Options
Online:1825 Days access
Downloadable:Lifetime Access
$39.54
*To support the delivery of the digital material to you, a digital delivery fee of $3.99 will be charged on each digital item.
$39.54*
Add to Cart
Buy from our Marketplace starting at $6.58

How Marketplace Works:

  • This item is offered by an independent seller and not shipped from our warehouse
  • Item details like edition and cover design may differ from our description; see seller's comments before ordering.
  • Sellers much confirm and ship within two business days; otherwise, the order will be cancelled and refunded.
  • Marketplace purchases cannot be returned to eCampus.com. Contact the seller directly for inquiries; if no response within two days, contact customer service.
  • Additional shipping costs apply to Marketplace purchases. Review shipping costs at checkout.

Summary

Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.

Author Biography

Rudolf Arnheim is Professor Emeritus of the Psychology of Art at Harvard University.

Table of Contents

Preface to the New Version ix
Introduction 1(9)
Balance
10(32)
The hidden structure of a square
10(6)
What are perceptual forces?
16(2)
Two disks in a square
18(1)
Psychological and physical balance
19(1)
Why balance?
20(3)
Weight
23(3)
Direction
26(3)
Patterns of balance
29(1)
Top and bottom
30(3)
Right and left
33(3)
Balance and the human mind
36(1)
Madame Cezanne in a yellow chair
37(5)
Shape
42(54)
Vision as active exploration
42(1)
Grasping the essentials
43(1)
Perceptual concepts
44(3)
What is shape?
47(1)
The influence of the past
48(3)
Seeing shape
51(4)
Simplicity
55(8)
Simplification demonstrated
63(3)
Leveling and sharpening
66(1)
A whole maintains itself
67(2)
Subdivision
69(4)
Why the eyes often tell the truth
73(1)
Subdivision in the arts
74(2)
What is a part?
76(3)
Similarity and difference
79(9)
Examples from art
88(4)
The structural skeleton
92(4)
Form
96(66)
Orientation in space
98(5)
Projections
103(3)
Which aspect is best?
106(6)
The Egyptian method
112(4)
Foreshortening
116(4)
Overlapping
120(3)
What good does overlapping do?
123(4)
Interplay of plane and depth
127(3)
Competing aspects
130(4)
Realism and reality
134(2)
What looks lifelike?
136(3)
Form as invention
139(5)
Levels of abstraction
144(8)
La source
152(4)
Visual information
156(6)
Growth
162(56)
Why do children draw that way?
163(1)
The intellectualistic theory
164(3)
They draw what they see
167(2)
Representational concepts
169(2)
Drawing as motion
171(3)
The primordial circle
174(5)
The law of differentiation
179(3)
Verticle and horizontal
182(5)
Obliqueness
187(4)
The fusion of parts
191(4)
Size
195(2)
The misnamed tadpoles
197(2)
Translation into two dimensions
199(4)
Educational consequences
203(5)
The birth of form in sculpture
208(1)
Sticks and slabs
209(6)
The cube and the round
215(3)
Space
218(85)
Line and contour
219(4)
Contour rivalry
223(4)
Figure and ground
227(6)
Depth levels
233(1)
Application to painting
234(5)
Frames and windows
239(2)
Concavity in sculpture
241(4)
Why do we see depth?
245(3)
Depth by overlapping
248(5)
Transparency
253(5)
Deformations create space
258(3)
Boxes in three dimensions
261(8)
Help from physical space
269(2)
Simple rather than truthful
271(4)
Gradients create depth
275(5)
Toward a convergence of space
280(3)
The two roots of central perspective
283(2)
Not a faithful projection
285(2)
Pyramidal space
287(7)
The symbolism of a focused world
294(3)
Centrality and infinity
297(1)
Playing with the rules
298(5)
Light
303(27)
The experience of light
303(2)
Relative brightness
305(4)
Illumination
309(2)
Light creates space
311(4)
Shadows
315(5)
Painting without lighting
320(4)
The symbolism of light
324(6)
Color
330(42)
From light to color
330(2)
Shape and color
332(5)
How colors come about
337(2)
The generative primaries
339(2)
Addition and subtraction
341(1)
Generative complementaries
342(2)
A capricious medium
344(2)
The quest for harmony
346(4)
The elements of the scale
350(3)
Syntax of combinations
353(4)
The fundamental complementaries
357(5)
Interaction of color
362(2)
Matisse and El Greco
364(4)
Reactions to color
368(1)
Warm and cold
369(3)
Movement
372(38)
Happenings and time
372(3)
Simultaneity and sequence
375(3)
When do we see motion?
378(4)
Direction
382(2)
The revelations of speed
384(3)
Stroboscopic movement
387(5)
Some problems of film editing
392(2)
Visible motor forces
394(4)
A scale of complexity
398(5)
The body as instrument
403(3)
The kinesthetic body image
406(4)
Dynamics
410(34)
Simplicity is not enough
410(2)
Dynamics and its traditional interpretations
412(4)
A diagram of forces
416(3)
Experiments on directed tension
419(4)
Immobile motion
423(1)
The dynamics of obliqueness
424(4)
Tension in deformation
428(4)
Dynamic composition
432(2)
Stroboscopic effects
434(3)
How does dynamics come about?
437(3)
Examples from art
440(4)
Expression
444(19)
Traditional theories
445(4)
Expression embedded in structure
449(5)
The priority of expression
454(3)
Symbolism in art
457(6)
Notes 463(24)
Bibliography 487(16)
Index 503

An electronic version of this book is available through VitalSource.

This book is viewable on PC, Mac, iPhone, iPad, iPod Touch, and most smartphones.

By purchasing, you will be able to view this book online, as well as download it, for the chosen number of days.

Digital License

You are licensing a digital product for a set duration. Durations are set forth in the product description, with "Lifetime" typically meaning five (5) years of online access and permanent download to a supported device. All licenses are non-transferable.

More details can be found here.

A downloadable version of this book is available through the eCampus Reader or compatible Adobe readers.

Applications are available on iOS, Android, PC, Mac, and Windows Mobile platforms.

Please view the compatibility matrix prior to purchase.