出版社: University of California Press
副标题: A Psychology of the Creative Eye
出版年: 2004-11-8
页数: 518
定价: USD 31.95
装帧: Paperback
ISBN: 9780520243835
内容简介 · · · · · ·
Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbrea...
Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.
Art and Visual Perception的创作者
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鲁道夫·阿恩海姆 作者
作者简介 · · · · · ·
Rudolf Arnheim is Professor Emeritus of the Psychology of Art at Harvard University. His books include Film as Art (California, 1957), Visual Thinking (1969), The Dynamics of Architectural Form (California, 1977), The Split and the Structure: Twenty-eight Essays (California, 1996).
目录 · · · · · ·
Copyright 1954, 1974, by the Regents of the University of Califonia
ISBN: 0-520-24383-8
Contents
Preface to the new version
Introduction
· · · · · · (更多)
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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Art and Visual Perception的书评 · · · · · · ( 全部 34 条 )
一定要买2008年的那版
《艺术与视知觉》读后感
很好很好的一本理论书
> 更多书评 34篇
论坛 · · · · · ·
在这本书的论坛里发言这本书的其他版本 · · · · · · ( 全部6 )
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四川人民出版社 (2019)8.6分 241人读过
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四川人民出版社 (1998)8.6分 1913人读过
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中国社会科学出版社 (1984)9.0分 281人读过
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湖南美术出版社 (2008)8.6分 252人读过
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谁读这本书? · · · · · ·
二手市场
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订阅关于Art and Visual Perception的评论:
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2 有用 小淘气 2016-10-31 23:55:32
some stand the test of time.everybody learning art,cognitive science,aesthetic values and art history should read it without hesitation.
0 有用 SHAW的黏土磚 2011-03-17 01:54:59
Insightful when analyzing how overlapping works in simple figure and depth.
3 有用 小慢 2016-11-06 22:58:04
恰当运用心理学分析视觉感知,层层递进,强烈推荐。十个章节形成一套完整的理论系统,保罗万象,有点视觉系的哲学感。除了色彩那一章切入点不太能理解。语言论述也是很高明,跟其他艺术形式、即人类审美系统相通,虽然作者自己都强调文字无法代替视觉感知,但他已经做到最好了。一直在找认知与设计的联系,看完如同在山林里懵逼的人突然见到了阳光。
4 有用 Joan 2019-04-16 19:24:34
本应该去看权力的游戏,却被这本半学术书吸引。曾经不完整读过其中一两章,这次重读就感觉心花怒放。嗯,同时怨气丛生,因为对照中文版一起读,有错译和漏译,最糟糕的是译文把原文的章节段落改的七零八落,有时还加几句译者的观点;上一代人的努力不可否认,可能劲用大了点。不过这本书的翻译也确实不易,不仅是艺术理论,同时涉及心理学,艺术的门类也涉及绘画、雕塑、摄影、电影、舞蹈,多处用音乐类比(毕竟阿恩海姆他们家是做... 本应该去看权力的游戏,却被这本半学术书吸引。曾经不完整读过其中一两章,这次重读就感觉心花怒放。嗯,同时怨气丛生,因为对照中文版一起读,有错译和漏译,最糟糕的是译文把原文的章节段落改的七零八落,有时还加几句译者的观点;上一代人的努力不可否认,可能劲用大了点。不过这本书的翻译也确实不易,不仅是艺术理论,同时涉及心理学,艺术的门类也涉及绘画、雕塑、摄影、电影、舞蹈,多处用音乐类比(毕竟阿恩海姆他们家是做钢琴的。真应该好好翻译一个版本,也算是为中国的艺术教育做贡献了。再找时间部分细读,大约在冬季 (展开)
0 有用 澍°🪐 2023-05-08 21:26:38 北京
世界从此不同
0 有用 澍°🪐 2023-05-08 21:26:38 北京
世界从此不同
0 有用 鸽子 2021-08-17 08:23:05
大体上视觉形式之间关联性和在场性可以和生态艺术史对读,细节上需参考试验数据与实证研究。
0 有用 陈美芳˙Ꙫ˙ 2021-03-21 13:31:27
视觉形象不是对于感性材料的机械复制,而是对现实的一种创造性把握,他把握到的形象是含有丰富的想象性、创造性、敏锐性的美的形象,是对有意义的整体结构式样的把握。
4 有用 Joan 2019-04-16 19:24:34
本应该去看权力的游戏,却被这本半学术书吸引。曾经不完整读过其中一两章,这次重读就感觉心花怒放。嗯,同时怨气丛生,因为对照中文版一起读,有错译和漏译,最糟糕的是译文把原文的章节段落改的七零八落,有时还加几句译者的观点;上一代人的努力不可否认,可能劲用大了点。不过这本书的翻译也确实不易,不仅是艺术理论,同时涉及心理学,艺术的门类也涉及绘画、雕塑、摄影、电影、舞蹈,多处用音乐类比(毕竟阿恩海姆他们家是做... 本应该去看权力的游戏,却被这本半学术书吸引。曾经不完整读过其中一两章,这次重读就感觉心花怒放。嗯,同时怨气丛生,因为对照中文版一起读,有错译和漏译,最糟糕的是译文把原文的章节段落改的七零八落,有时还加几句译者的观点;上一代人的努力不可否认,可能劲用大了点。不过这本书的翻译也确实不易,不仅是艺术理论,同时涉及心理学,艺术的门类也涉及绘画、雕塑、摄影、电影、舞蹈,多处用音乐类比(毕竟阿恩海姆他们家是做钢琴的。真应该好好翻译一个版本,也算是为中国的艺术教育做贡献了。再找时间部分细读,大约在冬季 (展开)
0 有用 Xiaoyu 2019-03-05 20:03:13
“那些如升起与陨落,统治与臣服,弱小和强大,和谐与冲突,抗争和顺从的主题是一切存在的基础。它们不仅出现在我们内心,也存在于我们和他人,社会及自然的关系上面。只有当我们能够体验到比个人感觉更高层次的东西时,知觉与表达才算完成了自己的任务。这让我们了解到,每个人内心的活跃动力,与宇宙之间的动力实际上是一样的。”上学期修文艺美学时,本以为艺术哲学大概是最能够便于理解的书,但其实这本更贴近自己的专业,可惜... “那些如升起与陨落,统治与臣服,弱小和强大,和谐与冲突,抗争和顺从的主题是一切存在的基础。它们不仅出现在我们内心,也存在于我们和他人,社会及自然的关系上面。只有当我们能够体验到比个人感觉更高层次的东西时,知觉与表达才算完成了自己的任务。这让我们了解到,每个人内心的活跃动力,与宇宙之间的动力实际上是一样的。”上学期修文艺美学时,本以为艺术哲学大概是最能够便于理解的书,但其实这本更贴近自己的专业,可惜翻译总觉得有些障碍,终于感受到了英语好的重要性,如果有读懂原著的能力一定会有更深的理解。 (展开)