Twenty-five years ago, Rudolf Amheim was already a highly respected, widely renowned name in the field uniquely identified with him-the psychology of art. Back in those days, a few of my colleagues who genuinely appreciated the significance of Arnheim's ideas talked about his books, Art and Visual Perception1 and Picasso's Guernica: The Genesis of a Painting.2 Sparked by the publication of Visual Thinking3 in 1969, and the subsequent reprints, general awareness of his works accelerated in the seventies in the circles wherein I moved.