Art and Visual Perception: A Psychology of the Creative EyeSince its first publication in 1954, this work has established itself as a unique classic. It applies the approaches and findings of modern psychology to the study of art; it descirbes the visual process that takes place when people create - or look at - works in the various arts, and explains how they organize visual material according to definite psychological laws. Artists, critics, art historicans, students, and general readers have found it a highly readable book. Now Arnheim has throughtly revised and enlarged the text and adds new illustrations, taking advantage of recent developments in his own work and that of others. |
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one of the excellent book on Visual perception. His writings are always lucid. Those really interested with the subject, may understand and apply the concepts discussed in the book.
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Chapter V Space is very interesting.
Contents
II | 1 |
III | 10 |
IV | 16 |
V | 18 |
VI | 19 |
VII | 20 |
VIII | 23 |
IX | 26 |
LXXII | 239 |
LXXIII | 241 |
LXXIV | 245 |
LXXV | 248 |
LXXVI | 253 |
LXXVII | 258 |
LXXVIII | 261 |
LXXIX | 269 |
X | 29 |
XI | 30 |
XII | 33 |
XIII | 36 |
XIV | 37 |
XV | 42 |
XVI | 43 |
XVII | 44 |
XVIII | 47 |
XIX | 48 |
XX | 51 |
XXI | 55 |
XXII | 63 |
XXIII | 66 |
XXIV | 67 |
XXV | 69 |
XXVI | 73 |
XXVII | 74 |
XXVIII | 76 |
XXIX | 79 |
XXX | 88 |
XXXI | 92 |
XXXII | 96 |
XXXIII | 98 |
XXXIV | 103 |
XXXV | 106 |
XXXVI | 112 |
XXXVII | 116 |
XXXVIII | 120 |
XXXIX | 123 |
XL | 127 |
XLI | 130 |
XLII | 134 |
XLIII | 136 |
XLIV | 139 |
XLV | 144 |
XLVI | 152 |
XLVII | 156 |
XLVIII | 162 |
XLIX | 163 |
L | 164 |
LI | 167 |
LII | 169 |
LIII | 171 |
LIV | 174 |
LV | 179 |
LVI | 182 |
LVII | 187 |
LVIII | 191 |
LIX | 195 |
LX | 197 |
LXI | 199 |
LXII | 203 |
LXIII | 208 |
LXIV | 209 |
LXV | 215 |
LXVI | 218 |
LXVII | 219 |
LXVIII | 223 |
LXIX | 227 |
LXX | 233 |
LXXI | 234 |
LXXX | 271 |
LXXXI | 275 |
LXXXII | 280 |
LXXXIII | 283 |
LXXXIV | 285 |
LXXXV | 287 |
LXXXVI | 294 |
LXXXVII | 297 |
LXXXVIII | 298 |
LXXXIX | 303 |
XC | 305 |
XCI | 309 |
XCII | 311 |
XCIII | 315 |
XCIV | 320 |
XCV | 324 |
XCVI | 330 |
XCVII | 332 |
XCVIII | 337 |
XCIX | 339 |
C | 341 |
CI | 342 |
CII | 344 |
CIII | 346 |
CIV | 350 |
CV | 353 |
CVI | 357 |
CVII | 362 |
CVIII | 364 |
CIX | 368 |
CX | 369 |
CXI | 372 |
CXIII | 375 |
CXIV | 378 |
CXV | 382 |
CXVI | 384 |
CXVII | 387 |
CXVIII | 392 |
CXIX | 394 |
CXX | 398 |
CXXI | 403 |
CXXII | 406 |
CXXIII | 410 |
CXXIV | 412 |
CXXV | 416 |
CXXVI | 419 |
CXXVII | 423 |
CXXVIII | 424 |
CXXIX | 428 |
CXXX | 432 |
CXXXI | 434 |
CXXXII | 437 |
CXXXIII | 440 |
CXXXIV | 444 |
CXXXV | 445 |
CXXXVI | 449 |
CXXXVII | 454 |
CXXXVIII | 457 |
CXXXIX | 463 |
487 | |
503 | |
Other editions - View all
Art and Visual Perception: A Psychology of the Creative Eye Rudolf Arnheim,Rudolph Arnheim No preview available - 1974 |
Common terms and phrases
angle appear artist balance blue body brightness central perspective child circle color complex composition compositional pattern contour convergence created cubist dancer dark deviation dimension direction disk distance drawing dynamic elements example experience expression face factors figure and ground figure-ground film forces frontal plane geometrical gestalt psychology Goethe gradient ground Henry Moore horizontal hues human figure illumination kinesthetic light look Max Wertheimer means mind motion move movement nature oblique observer organization orientation overlapping painter painting particular pattern perceived perception physical Picasso pictorial picture principle produce projection qualities rectangle relation Rembrandt representation represented retina sculpture seen sense sequence shadow shape similar simple simplest simplicity space spatial square stage Stroboscopic surface symmetry tension things three-dimensional tilted tion triangle two-dimensional vanishing point vertical viewer visual concept visual field visual objects visual perception whereas whole yellow