Varieties of Realism: Geometries of Representational ArtCUP Archive, 31 maj 1986 - 338 Varieties of Realism argues that it is not possible to represent the layout of objects and surfaces in space outside the dictates of formal visual geometry, the geometry of natural perspective. The book examines most of the world's coherent representational art styles, both in terms of the geometry of their creation and in terms of their perceptual effects on the viewer. A lucid exposition of modern geometrical principles and relations, accessible to the nonmathematical reader, is followed by an analysis of all known styles as variants of natural perspective, as true varieties of realism. Delineating the physical and mechanical constraints that determine the act of visual representation in painting and drawing, the author traces the intimate relations among seemingly distant styles and considers the kind of perceptual information about the world each can carry. Margaret Hagen is a perceptual psychologist with an ecological point of view. Her rigorous but readable presentation of visual theory and research offers provocative new insights into the connections among vision, geometry, and art. |
Spis treści
Information and invariants | 9 |
The hierarchy of geometry in visual | 33 |
1 | 43 |
ΙΟ | 49 |
The appearance of things in the world | 64 |
structure in the | 80 |
12 | 108 |
analysis of style | 116 |
Compositional demands in two | 202 |
22 | 237 |
The categorization system | 240 |
The developmental question | 267 |
Affine transformations | 289 |
Natural perspective | 299 |
Question of resemblance | 305 |
Extravisual information | 311 |
14 | 132 |
18 | 140 |
22 | 150 |
28 | 158 |
37 | 166 |
analysis | 177 |
Hermann von Helmholtz | 317 |
References | 325 |
42 | 328 |
334 | |
Kluczowe wyrazy i wyrażenia
Affine Affine transformations analysis animal appearance argued artist aspects assumed assumption body building called Chapter clear clearly composition compression concept considered consistent construction convergence course culture depiction described determined direction distance drawings edges Egyptian art elements environment equivalent evidence example experience face Figure format four front function geometry gives gradient ground human illustrate important Indian infinity intersecting invariants Japanese light limited lines look mapping means Metric move multiple natural objects observer optical options ordinary painting parallel particular perceive perception perspective photograph pictorial picture plane position possible present preserved projection properties reflected relations relative representational scene seen selection sense shape shown shows side Similarity simple single space spatial specific station point structure style surface technique theory things three-dimensional tion transformations true two-dimensional vision visual angle Western