By Rudolf Arnheim

ISBN-10: 0520243838

ISBN-13: 9780520243835

For the reason that its first booklet in 1954, this paintings has confirmed itself as a special vintage. It applies the techniques and findings of the interval psychology to the learn of artwork; it descirbes the visible technique that occurs while humans create - or examine - works within the numerous arts, and explains how they manage visible fabric based on convinced mental legislation. Artists, critics, paintings historicans, scholars, and normal readers have chanced on it a hugely readable e-book.

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Additional info for Art and Visual Perception: A Psychology of the Creative Eye

Example text

These examples show that simplicity requires a correspondence in struc­ ture between meaning and tangible pattern. " It is a requirement for design in the applied arts as well. To return to an example I used earlier : if a television set and a typewriter looked exactly alike, we would be deprived of a de­ sirably simple correspondence between form and function. The simplification of form would diminish communication-not to mention the impoverishment of our visual world. Simplification Demonstrated According to the basic law of visual perception, any stimulus pattern tends to be seen in such a way that the resulting structure is as simple as the given conditions permit.

This is not necessarily true for the physical objects that serve as stimuli 68 SHAPE to the sense of sight. A body of water is a gestalt since what happens in one place has an effect on the whole. But a rock is not, and in a countryside trees and clouds and water interact only within the limits of severe constraints. Moreover, whatever physical interaction occurs in the world we see does not necessarily have a visual counterpart. An electric radiator has a strong but unseen effect on a nearby violin, whereas a pale human face made to look green by contrast with an adjacent red dress suffers from a perceptual effect that has no physical counterpart.

Some aspects of the figures may be graphic inter­ pretations of the percept rather than properties of the percept itself. Neverthe­ less, such an experiment gives sufficient evidence that seeing and remembering involves the creation of organized wholes. Leveling and Sharpening I Although the observers reveal in their drawings (Figure 39) a tendency to reduce the number of structural features and thereby to simplify the pat­ tern, other tendencies are active as well. For example, the fourth drawing in the row "Subdivision enhanced" is more complex than the model in that it breaks the central horizontal line and thereby intensifies rather than reduces the dynamics of the model.

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Art and Visual Perception: A Psychology of the Creative Eye by Rudolf Arnheim

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