Art and Visual Perception

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出版者:University of California Press
作者:Rudolf Arnheim
出品人:
页数:518
译者:
出版时间:2004-11-8
价格:USD 31.95
装帧:Paperback
isbn号码:9780520243835
丛书系列:
图书标签:
  • 艺术
  • 心理学
  • 设计
  • Visual/Art
  • 文化
  • 思维
  • 艺术史
  • theory:criticism
  • 艺术
  • 视觉
  • 感知
  • 美学
  • 设计
  • 心理学
  • 认知
  • 图像
  • 色彩
  • 空间
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具体描述

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.

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).

目录信息

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
· · · · · · (收起)

读后感

评分

书很厚,也没彩页,图画的潦草,而且我又不是搞艺术的,但是奇怪的很,搬家多次,一直留在手边十多年,每每翻阅一下,都获益匪浅,我真的不知道还有什么艺术理论书籍能这样伴随我的生活,并且给我带来无尽的乐趣。今晚看的装饰与艺术的区别,佩服思想的深邃,原来书籍里有这样...

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非常非常出色的一本书。作者用格式塔心理学来解释视知觉,讲的很精彩。虽然这本书有点老了,里面的一些理论也许会过时,但是一些基本的关于视知觉的心理问题,还是永远不过时的。 我们是怎样看这个世界的?是否我们看到的是否就是真是的世界?我们每个人是否都曾有过看错了的...  

评分

读这本书需要一定的基础,看了一半发现了多处错误 读的过程中一直感觉胸闷。但总的来说还是有收获的。 当我打电话给四川人民出版社 想纠正错误时 对方竟然推卸责任,竟然把我推到4个不同的部门,不得不说 四川人民出版社的不行确实是正确的  

评分

格式塔心理学(完形心理学)代表著,艺术必读书。如有可能,读英文原文的最好。1980年代大量译著都有翻译问题,都是短时间突击出来的。加上当时对西方学术了解有限,错误在所难免。条件这样,这本书还是应该列为艺术必读书。  

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阿恩海姆2007年才去逝的,竟然在书的勒口上赫然写着阿恩海姆1994年就去世,可见译者与编写的态度极其不严谨。 不知当年阿恩海姆他老人家在世时看到这个中文版是什么感觉。  

用户评价

评分

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

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some stand the test of time.everybody learning art,cognitive science,aesthetic values and art history should read it without hesitation.

评分

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。

评分

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。

评分

Insightful when analyzing how overlapping works in simple figure and depth.

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