By Rudolf Arnheim
ISBN-10: 0520243838
ISBN-13: 9780520243835
When you consider that its first book in 1954, this paintings has demonstrated itself as a distinct vintage. It applies the ways and findings of the interval psychology to the learn of paintings; it descirbes the visible approach that occurs whilst humans create - or examine - works within the a variety of arts, and explains how they set up visible fabric in response to sure mental legislation. Artists, critics, artwork historicans, scholars, and normal readers have came upon it a hugely readable e-book.
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Additional resources for Art and Visual Perception: A Psychology of the Creative Eye
Example text
Actually, the similarity factors are most effective when they support patterns. " Wertheimer used these terms to describe the difference between starting the analysis of a pattern with its components and proceeding to their combinations-the method I just used with the rules of grouping-and beginning with the overall struc ture of the whole and descending from there to more and more subordinated parts. Grouping from below and subdivision from above are reciprocal concepts. Figure 55 An important difference between the two procedures is that in starting from below we can apply the principle of simplicity only to the similarity that ob tains between unit and unit, whereas when we apply it from above, the same principle accounts for overall organization as well.
The samples give an idea of the impressive variety of reactions, which is due partly to individual differences and partly to such factors as differences in server in some indirect way. The observer gives a verbal description, or makes a drawing, or chooses from a number of patterns the one most resembling the figure he saw. None of these methods is very satisfactory, since there is no telling how much of the result is due to the primary experience itself and how much to the medium of communication.
Under these conditions we cannot expect the underlying tendencies clearly to manifest themselves in all cases. It is best, therefore, to base an interpretation on examples that illustrate some clear-cut effect. Traditionally it was assumed that with the passing of time memory traces Closing of boundaries slowly fade out. They dissolve, become less distinct, and drop their individual characteristics, thus looking more and more like everything and nothing. This amounts to a gradual loss of articulate structure.
Art and Visual Perception: A Psychology of the Creative Eye by Rudolf Arnheim
by Robert
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