Art and Visual Perception

This is the 1974 expanded and revised edition, with some new illustrations, of the original publication of 1954 Copyright 1954, 1974, by the Regents of the University of Califonia ISBN: 0-520-24383-8 Contents Preface to the new version Introduction I. Balance The hidder structure of a square, 10 What are perceptual forces? 16 Two disks in a square, 18 Psychological and physical balance, 19 Why balance? 20 Top and bottom, 30 Right and left, 33 balance and the human mind, 36 Madame Cezanne in a yellow chair, 37 II. Shape Vision as avtive exploration, 42 Grasping the wssentials, 43 Perceptual concepts, 44 What is shape? 47 The influence of the past, 48 Seeing shape, 51 Simplicity, 55 Simplification demonstrated, 63 Leveling and sharpening, 66 A ehole maintains itself, 67 Subdivision, 69 Why the eyes often tell the truth, 73 Subdivision in the arts, 74 What is a part? 76 Similarity and difference, 79 Examples from art, 88 The structural skeleton, 92 III. Form Orientation in space, 98 Projections, 103 Which aspect is best? 106 The Egyptian method, 112 Foreshortening, 116 Overlapping, 120 What good does overlapping do? 123 Interplay of plane and depth, 127 Competing aspects, 130 Realism and reality, 134 What looks lifelike? 136 Form as invention 139 Levels of abstraction, 144 La source, 152 Visual information, 156 IV. Growth Why do children draw that way? 163 The intellectualistic theory, 164 They draw what they see, 167 Representational concepts, 169 Drawing as motion, 171 The primordial circle, 174 The law of differentiation, 179 Verticle and horizontal, 182 Obliqueness, 187 The fusion of parts, 191 Size, 195 The misnamed tadpoles, 197 Translation into two dimensions, 199 Educational consequences, 203 The birth of form in sculpture, 208 Sticks and slabs, 209 The cube and the round, 215 V. Space Line and contour, 219 Contour rivalry, 223 Figure and gound, 227 Depth levels, 233 Application to painting, 234 Frames and windows, 239 Concavity in sculpture, 241 Why do we see depth? 245 Depth by overlapping, 248 Transparency, 253 Deformations create space, 269 Simple rather than truthful, 271 Gradients create depth, 275 Toward a convergence of space, 280 The two roots of central perspective, 283 Not a faithful projection, 285 Pyramidal space, 287 The symbolism of a focused world, 294 Centrality and infinity, 297 Playing with the rules, 298 VI. Light The experience of light, 303 Relative brightness, 305 Illumination, 309 Light creates space, 311 Shadows, 315 Painting without lighting 320 The symbolism of light, 324 VII. Color From light to color, 330 Shape and color, 332 How colors come about, 337 The generative primaries, 339 Addition and subtraction, 341 Generative complementaries, 342 A capricious medium, 344 The quest for harmony, 346 The elements of the scale, 350 Syntax of combinations, 353 The fundamental complementaries, 357 Interaction of color, 362 matisse and El Greco, 364 Reactions to color, 368 Warm and cold, 369 VIII. Movement Happenings and time, 372 Simultaneity and sequence, 375 When do we see motion? 378 Direction, 382 The revelations of speed, 384 Stroboscopic movement, 387 Some problems of film editing, 392 Visible motor forces, 394 A scale of complexity, 398. The body as instrument, 403 The kinesthetic body image, 406 IX. Dynamics Simplicity is not enough, 410 Dynamics and its traditional interpretations, 412 A diagram of forces, 416 Experiments on directed tension, 419 Immobile motion, 423 The dynamics of obliqueness, 424 Tension in deformation, 428 Dynamic composition, 432 Stroboscopic effects, 434 How does dynamics come about? 437 Examples from art, 440 X. Expression Traditional theories, 445 Expression embedded in structure, 449 The priority of expression, 454 Symbolism in art, 457 Notes 463 Bibliography 487 Index 503

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