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. |
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Spis treści
Information and invariants | 9 |
motion | 15 |
Types of events | 21 |
Groups of transformations | 28 |
The appearance of things in the world | 64 |
Concept of group in perception | 74 |
structure in | 80 |
Conventionalism | 86 |
twelfth century | 215 |
Styles emphasizing threedimensional composition | 225 |
Ice Age cave art | 232 |
A categorization scheme | 238 |
The developmental question | 267 |
Affine transformations | 289 |
Natural perspective | 299 |
Question of resemblance | 305 |
Pictures and optical structure | 97 |
Pictorial projections and the presence of perspective | 106 |
The categorization system | 112 |
analysis | 177 |
Compositional demands in two | 202 |
Gestalt principles and concepts from art criticism | 208 |
Extravisual information | 311 |
Hermann von Helmholtz | 317 |
References | 325 |
334 | |
Kluczowe wyrazy i wyrażenia
Affine transformation analysis animal appearance argued art styles artist assumption Boas Bushmen canonical form categorization center of projection central projection Coast Indian art composition compression concept construction convergence cross-ratio cubist culture depiction Descartes distance drawings Egyptian art equivalent Euclid example frontal function geometry Gibson gradient ground plane Hagen horizon illustrate image plane intersecting invariants light linear perspective mapping Metric motion multiple station point Museum natural perspective Northwest Coast Indian objects oblique observer optic array optical infinity options ordinary environment painting parallel projection perceive perpendicular photograph pictorial picture plane projection lines Projective geometry Projective transformations properties relative Renaissance representational art representational pictures retinal rotation scene Seattle Art Museum seen shape shown in Figure Similarity single station point slant space spatial layout specific structure subtended surface technique texture theory three-dimensional tion two-dimensional vanishing point viewer vision visual angle visual information visual perception yamato-e