Download PDF Art and Visual Perception: A Psychology of the Creative Eye, by Rudolf Arnheim
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Art and Visual Perception: A Psychology of the Creative Eye, by Rudolf Arnheim
Download PDF Art and Visual Perception: A Psychology of the Creative Eye, by Rudolf Arnheim
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Review
"The clear, direct, flexible writing is powerfully reinforced by the numerous illustrations . . . not one of which is superfluous."--"Journal of Aesthetics and Art Criticism
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From the Inside Flap
"In The Ego and the Id Freud argued that a cogent thought process, to say nothing of conscious intellectual work, could not exist amidst the unruliness of visual experience. Over the last half century in a sequence of landmark books, Rudolf Arnheim has not only shown us how wrong that is, he has parsed the grammar of form with uncanny acuity and taught us how to read it."―Jonathan Fineberg, author of Art since 1940: Strategies of Being
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Product details
Paperback: 518 pages
Publisher: University of California Press; Second Edition, Fiftieth Anniversary Printing edition (November 8, 2004)
Language: English
ISBN-10: 9780520243835
ISBN-13: 978-0520243835
ASIN: 0520243838
Product Dimensions:
6 x 1.4 x 9 inches
Shipping Weight: 1.5 pounds (View shipping rates and policies)
Average Customer Review:
4.3 out of 5 stars
29 customer reviews
Amazon Best Sellers Rank:
#138,778 in Books (See Top 100 in Books)
Why is it that when we see a square with a parallelogram attached to its top side and an equally sized parallelogram attached to its right side that meets the parallelogram on top that we "see" a three-dimensional cube rather than a two-dimensional hexagon? Rudolf Arnstein's Art and Visual Perception: A Psychology of the Creative Eye seeks to answer this question among many other curiosities about how the eye perceives. It isn't the most tedious book I've ever read, but it's certainly a pedantic one.The book was recommended by one of the instructors at a photography workshop I had taken in Death Valley a couple of years ago, saying he found the book extremely inspiring. Because I admire this photographer's work so much, both his photography and his lyrical writings on the subjects of photography and creativity, I was looking forward to reading a book which, hopefully, would have a similar impact on me. The book does have a number of useful gems, and it's certainly a worthwhile read. However, I don't think reading this book will elevate my photography and writing to this particular photographer's level.The book begins slowly, starting with the basics, taking up balance first, then shape followed by form. It was easy to see that the author was building, bit by bit, a foundation to support the more complex chapters in the book on growth, space, light, color, movement, and dynamics, concluding with a final chapter on expression which tied all of these elements together. My favorite chapters were the ones on space, light and dynamics, because I gathered the most information useful for my own photography in these chapters.I liked that Arnheim recognized the importance of the role the observer plays in "creating" a work of art, even though the observer's role may not necessarily be a positive influence:   This explicit acknowledgement of the viewer is at the same   time a violent imposition upon the world represented in the   picture. The perspective dissociations are not caused by    forces inherent in the represented world itself. They are   the visual expression of the fact that this world is being   sighted. (p. 294).I never had considered my observation of a work of art to be a "violent imposition" but rather one of fervent adulation. I don't just like art, I *love* it. Everywhere I visit, going to the local museum is a priority, and I have gathered a few works for my personal collection. I had to wonder if Arnheim would have viewed my ownership of these works as not just an assault, but a kidnapping as well!Arnheim makes an interesting point about light. Ordinarily, we humans think of light as the natural state of things, but Arnheim asserts that the opposite is true:   [S]ince man's attention is directed mostly towards   objects and their activities, the debt to light is not   widely acknowledged. We deal visually with human   beings, buildings, or trees, not with the medium   generating their images. Accordingly, even artists   have been much more concerned with the creatures   of light than with light itself. (p. 303).Arnheim cites Rembrandt as one of the rare artists who recognized that we live in a world full of darkness, brought to life by light.Arnheim insists that tension is one of the elements necessary for constructing what could be considered an outstanding work of art: "We envisage the mind as an interplay of tension-heightening and tension-reducing strivings." (p. 411). On the following page, he sets out what might well be considered the principal thesis of this text: "Visual perception consists in the experiences of visual forces." (p. 412).   I found the following quotation about the training of artists quite interesting:   If expression is the primary content of vision in    daily life, the same should be all the more true    of the way the artist looks at the world. The    expressive qualities are his means of communication.   They capture his attention, they enable him to   understand and interpret his experiences, and they   determine the form patterns he creates. Therefore   the training of art students should be expected to   consist basically in their sharpening their sense of   these qualities, and in teaching them to look    to expression as the guiding principle for every   stroke of the pencil, brush, or chisel. (p. 455).It describes very well the approach used by the two instructors of the workshop. It was assumed we already knew basic camera techniques. Their intent was to get us to see the Death Valley scenery in a more visionary manner, rather than just make the snapshots taken so often by tourists visiting the park.Near the conclusion of his text, Arnheim again stresses the importance of the role of the observer, and amplifies his earlier statement:   [S]ince the pattern of transmitted life-giving energy   is not simply recorded by the sense of vision but   presumably arouses in the mind a corresponding   configuration of forces, the observer's reaction is    more than a mere taking cognizance of an external   object. The forces that characterize the meaning of   the story come alive in the observer and produces   the kind of stirring participation that distinguishes    artistic expression from the detached acceptance   of information." (p. 460).Arnheim's otherwise tedious text has many more gems such as these four samples which makes this a book worth reading, However, don't expect an exciting ride, as this is a quite erudite book. At first I was planning to slam him for failing to provide proper citations to his sources, but then in a section following the body of the text, Arnheim had drafted an extensive set of notes and citations as well as additional commentary. DO be sure to read the notes. The index, however, is pitiful, Arnheim did an especially good job of analyzing the artworks he described; they were very much like the analyses a student in an art history class would write. In addition to a decent index, the book also would have benefitted from many more color plates, The book contained only two color plates. A few of the artworks were black and white prints, and others  were represented only by line drawings. Most of the art works described in the book were not depicted within the text at all. One would have to seek out the actual images in order to fully appreciate the art works he discussed.
this is a great book. and I recommend it it really. especially if your really serious about understanding visual language and how our brains reads and understands things like line and shape. But it comes with a warning. this book is long and hard to get trough.I think that as a designer, be it graphic designer or concept artist. I personally am studying visual development. this an important read. what you learn in class starting out when it comes to universal design principals is dumb down and basic. and you learn the rest from trial and error and experience. and most art books are usually entertaining. this is a thick book with little parting, few pictures and reads like your in college level science class.if you really really want to beyond the basics and into the science of visual design. read this book. it very informative. and I did help me grow. but honestly I haven't been able to finish it. I kinda started swimming it. I mean to explain one theory it will go on and on for ages. and it sorta became like ok I get it. so I recommend this book but be warned. it's not for everyone.
Very helpful in understanding what goes on when we look at art. A good read for photographers and other artists. A classic in the field.
Arnheim's book on the creative eye has survived well over half a century, for a reason. This is a truly seminal work on "seeing" and composing artistic images. He deals primarily with painting. I am a photographer. This book means as much to the current photographer with digital camera as to the artist with easel canvas and brush. Fascinating reading illustrated with classic examples. Re-shapes the mind. I bought copies for all of my friends who are, like me, serious shooters.
A hard book to get through but much can be learned for an artist for at least trying.
This book is a treasure for all artists, and architects.It is a good book with many illustrations and analysis. If You need to know how to deal with forms, shapes, and their parameters as a professional, this is the right book to buy. Sometimes I think that it is too late to read again about form,but Arnhiem's book is not only about form perception it is about life experience in how to read things in scientific and detailed approach.
The most complete book about picture`s theory
The product is very good
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