Art, the Way it is
Richardson shows at the outset that pictorial art is founded on habits of perception, not on objective laws. His focus is alway on the artwork in relation to a specific viewer in a specific time and place. He consistently explores perspective, line and volume, light and shade, colour, and space in terms of different artists, periods, societies, and conventions.
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PREFACE AND ACKNOWLEDGMENTS
IMAGE CREATION AND CONVENTION
ART AND MONEY
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ancient appear arch architecture areas artist beauty building called camera Caravaggio century Cezanne chiaroscuro Christ church Cimabue Collection color contrast Cubist dark Degas Dogon dome dots drawing edgar degas effect engraving etching example Eyck fact famous figure Florence French fresco Georges Seurat Giovanni Arnolfini glass Gogh Greek Hay Wain hues human impression Impressionist John Adkins Richardson kind light look Madonna Masaccio matter means Modern Art Mondrian Monet movement Museum of Modern National Gallery nature Neolithic nude objects Oil on canvas Oil on panel oil paint pablo picasso painter Paris perspective photographs picture piet mondrian pigment plate Polyclitus Praxiteles produced projection realistic Rembrandt Renaissance reproduction Roman Rome sculpture seems shade sort space stone style surface technique tempera term texture things Tintoretto tion Titian trimetric projections Uffizi Gallery usually Venus Venus of Urbino viewer visual women yellow York