Art and Visual Perception¶
Arnheim, R. (1954). Art and Visual Perception: A Psychology of the Creative Eye. University of California Press.
Cited by¶
2 citations across 2 artifacts.
Each citation links to the sentence it supports in the citing article.
Primes¶
- Abstraction in Art
- The reliance on formal perception and interpretive cognition rather than narrative or symbolic reference (Arnheim, 1954)
This sourceApplies gestalt psychology to art and composition; supports the reliance-on-formal-perception/interpretive-cognition signature (D37-005).
Supported in partVerified against the work's full text
Arnheim supports nonmimetic art working through pure visual expression and treats perception as akin to thinking, but he also says forms carry symbolic meaning, so 'rather than symbolic reference' is not his position.
“or, like Mondrian and Kandinsky, he can work with completely nonmimetic”
- The reliance on formal perception and interpretive cognition rather than narrative or symbolic reference (Arnheim, 1954)
- Gestalt Principles
- T3: Principle-violation-as-feature tension. Deliberate violation of gestalt expectations can produce effect (tension, disruption, surprise, artistic impact) that aligned design cannot — but the effect depends on the baseline of gestalt-aligned perception being the default expectation, a tension Arnheim (1954) develops at length in Art and Visual Perception by analyzing how artistic compositions deploy controlled gestalt violations against a predominantly aligned background to generate visual force and meaning.
This sourceApplies gestalt psychology to composition, developing how artistic works deploy controlled gestalt violations against a predominantly aligned background (interacting balancing 'visual forces' generating tension) to create force and meaning.
Supported in partVerified against the work's full text
Arnheim shows deviation from a firmly established regular pattern generating tension and expressive force, with cubist contradiction as a deliberate case; the explicit 'gestalt violation' framing is not his.
“In fact, of course, he is looking not at the three-dimensional object but at a flat picture of it, in which the aspects clash in deliberate contradiction. The tension created by visual incompatibility is heightened when different, mutually ex- clusive views appear together”
- T3: Principle-violation-as-feature tension. Deliberate violation of gestalt expectations can produce effect (tension, disruption, surprise, artistic impact) that aligned design cannot — but the effect depends on the baseline of gestalt-aligned perception being the default expectation, a tension Arnheim (1954) develops at length in Art and Visual Perception by analyzing how artistic compositions deploy controlled gestalt violations against a predominantly aligned background to generate visual force and meaning.
Verification¶
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