A Defence of the Study of Visual Perception in Art

0044 English OPEN
Geary, James Bernard;
(2017)

This thesis examines the use of the science of visual perception in the study of art. I argue that this application of perceptual psychology and physiology has been neglected in recent years, but contend that it is being revived by writers such as John Onians. I apply r... View more
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    .......................................................................................................................143 P Diagram by the author...................................................................................144 Figure 43 Representation of the three features of colour in three dimensions. Hue: around the circle. Tone: increasing from bottom to top.

    Saturation: increasing as circle radiates out from the centre. Diagram by the author............................................................................................................144 Figure 48 Leonardo da Vinci and Andrea del Verrocchio. Annunciation.

    c.1472 1W475. (Detail.).................................................................................... 164 Giotto di Bondone. Meeting at the Golden Gate. c.1305. .........164 Figure 50 Drawing of objects with sections left out, to illustrate recognitionby-components theory (Biederman, 1987, p. 135)......................................... 167 Figure 53 Hieronymus Bosch. Adoration of the Magi. c.1500 1W550.

    Additions by the author. ................................................................................171 Hypotenuse illusion. Diagram by the author. ............................ 172 Figure 55 Hieronymus Bosch. Adoration of the Magi. c.1500 1W550. (Detail.) Additions by the author. ................................................................................172 Figure 56 Hieronymus Bosch. Adoration of the Magi. c.1500 1W550.

    Additions by the author. ................................................................................172 Figure 57 Leonardo da Vinci and Andrea del Verrocchio. Annunciation.

    c.1472 1W475. Detail, with a diagram describing the representation of space.

    Diagram by the author...................................................................................173 Figure 58 Leonardo da Vinci and Andrea del Verrocchio. Annunciation.

    c.1472 1W475. Detail, with vertices added. Additions by the author...............174 Figure 59 Giotto di Bondone. Meeting at the Golden Gate. c.1305. Vertices added. Additions by the author. ....................................................................174 Figure 60 Diagram showing planimetric objects (left) and recessional objects (right). Diagram by the author. ..........................................................180 Figure 61 Above diagram with colour indication. Purple: parallel to the picture plane. Red: Y-vertices. Amber: not parallel to the picture plane. Blue: arrow-vertices. Green: T-vertices. Diagram by the author. ............................ 180 Figure 62 Diagram showing various possible viewpoints of the eye for various situations (Goodman, 1968, p. 18). ................................................... 189 Figure 64 Diagram by Paul Klee, reproduced in Goodman, adapted by the author............................................................................................................190 Figure 79 Waveforms of the chord F#7, and the notes F#, A#, C# and E.

    .......................................................................................................................254 Figure 101 Flattened picture of a bear by Tsimshian Indians of the Pacific Northwest (Deregowski, 1972). .....................................................................260 Figure 102 The Müller-Lyer illusion (top) and the Ponzo illusion (bottom).

    Diagram by the author................................................................................... 260 Figure 105 The Müller-Lyer illusion (top) and the Ponzo illusion (bottom) with recognition-by-components and linear perspective interpretations.

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