Background
Arnheim, Rudolf was born on July 15, 1904 in Berlin. Came to the United States, 1940, naturalized, 1946. Son of Georg and Betty (Gutherz) Arnheim.
(Book annotation not available for this title. Title: Arte...)
Book annotation not available for this title. Title: Arte y percepcion visual / Art and Visual Perception Author: Arnheim, Rudolf Publisher: Grupo Anaya Comercial Publication Date: 2005/06/30 Number of Pages: 514 Binding Type: PAPERBACK Library of Congress:
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( Rudolf Arnheim has been known, since the publication of...)
Rudolf Arnheim has been known, since the publication of his groundbreaking Art and Visual Perception in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In The Power of the Center, Arnheim uses a wealth of examples to consider the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture. The Dynamics of Architectural Form explores the unexpected perceptual consequences of architecture with Arnheim's customary clarity and precision.
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( For thirty-five years Visual Thinking has been the gold...)
For thirty-five years Visual Thinking has been the gold standard for art educators, psychologists, and general readers alike. In this seminal work, Arnheim, author of The Dynamics of Architectural Form, Film as Art, Toward a Psychology of Art, and Art and Visual Perception, asserts that all thinking (not just thinking related to art) is basically perceptual in nature, and that the ancient dichotomy between seeing and thinking, between perceiving and reasoning, is false and misleading. An indis-pensable tool for students and for those interested in the arts.
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( For many years Rudolf Arnheim, known as the leading psy...)
For many years Rudolf Arnheim, known as the leading psychologist of art, has been keeping notebooks in which to jot down observations, ideas, questions, and even (after a stay in Japan for a year) poems in the haiku pattern. Some of these notes found their way into his books—known and prized the world over—such as Art and Visual Perception, Visual Thinking, and The Power of the Center (see list below). Now he has selected, from the remaining riches of his notebooks, the items in this volume. The book will be a joy to ramble through for all lovers of Arnheim's work, and indeed for anyone who shares Arnheim's contagious interest in the order that lies behind art, nature, and human life. It is a seedbed of ideas and observations in his special fields of psychology and the arts. "I have avoided mere images and I have avoided mere thoughts," says Arnheim in the Introduction, "but whenever an episode observed or a striking sentence read yielded a piece of insight I had not met before, I wrote it down and preserved it." There are also glimpses of his personal life—his wife, his cats, his students, his neighbors and colleagues. He is always concrete, in the manner that has become his trademark, often witty, and sometimes a bit wicked. In the blend of life and thought caught in these jottings, psychology and the arts are of course prominent. But philosophy, religion, and the natural sciences add to the medley of topics—always addressed in a way to sharpen the senses of the reader who, sharing Arnheim's cue from Dylan Thomas, may accompany him through "the parables of sun light and the legends of the green chapels and the twice told fields of childhood." All of Rudolf Arnheim's books have been published by the University of California Press.
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( This essay is an attempt to reconcile the disturbing co...)
This essay is an attempt to reconcile the disturbing contradiction between the striving for order in nature and in man and the principle of entropy implicit in the second law of thermodynamics - between the tendency toward greater organization and the general trend of the material universe toward death and disorder.
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( Since its publication fifty years ago, this work has es...)
Since its publication fifty years ago, this work has established itself as a classic. It casts the visual process in psychological terms and describes the creative way one's eye organizes visual material according to specific psychological premises. In 1974 this book was revised and expanded, and since then it has continued to burnish Rudolf Arnheim's reputation as a groundbreaking theoretician in the fields of art and psychology.
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(The essays collected in this volume amount to a call to a...)
The essays collected in this volume amount to a call to arms. Included is a series of monographs on a variety of great works of art. In other essays, the author uncovers perspectives in the art of the blind, in architectural space, in caricature and in the work of psychotics and autistic children.
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( Thousands of readers who have profited from engagement ...)
Thousands of readers who have profited from engagement with the lively mind of Rudolf Arnheim over the decades will receive news of this new collection of essays expectantly. In the essays collected here, as in his earlier work on a large variety of art forms, Arnheim explores concrete poetry and the metaphors of Dante, photography and the meaning of music. There are essays on color composition, forgeries, and the problems of perspective, on art in education and therapy, on the style of artists' late works, and the reading of maps. Also, in a triplet of essays on pioneers in the psychology of art (Max Wertheimer, Gustav Theodor Fechner, and Wilhelm Worringer) Arnheim goes back to the roots of modern thinking about the mechanisms of artistic perception.
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(From the Introduction: The papers collected in this book...)
From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated situation permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, Art and Visual Perception, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the Journal of Aesthetics and Art Criticism. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful.
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(En el presente libro, obra provocativa y con múltiples de...)
En el presente libro, obra provocativa y con múltiples derivaciones, Arnheim afirma que todo pensamiento (y no sólo el pensamiento relacionado con el arte u otras experiencias visuales) es de naturaleza fundamentalmente perceptual, y que la vieja dicotomía entre visión y pensamiento, entre percepción y razonamiento, es falsa y desorientadora. El autor muestra que incluso los procesos básicos de la visión implican mecanismos típicos del razonamiento e indica la existencia de resolución de problemas en las artes y de imágenes en los modelos mentales de la ciencia. Lejos de constituir una función <>, nuestra respuesta perceptual ante el mundo es el medio fundamental por el que estructuramos los acontecimientos y del que derivamos las ideas y el lenguaje. Arnheim basa sus argumentos en material procedente de filósofos, antiguos y modernos; de experimentos psicológicos de laboratorio; de los trabajos consagrados a la percepción y a la creación artística de los niños; de escritos científicos sobre física y astronomía... Las observaciones de Arnheim mantienen la exposición en un nivel tangible y pertinente respecto de la experiencia humana en situaciones reales.
http://www.amazon.com/gp/product/8475093779/?tag=2022091-20
( Rudolf Arnheim has been known, since the publication of...)
Rudolf Arnheim has been known, since the publication of his groundbreaking Art and Visual Perception in 1974, as an authority on the psychologicalinterpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In The Power of the Center, Arnheim uses a wealth of examples to consider the actors that determine the overall organization of visual form in works of painting, sculpture, and architecture. The Dynamics of Architectural Form explores the unexpected perceptual consequences of architecture with Arnheim's customary clarity and precision.
http://www.amazon.com/gp/product/0520261259/?tag=2022091-20
Arnheim, Rudolf was born on July 15, 1904 in Berlin. Came to the United States, 1940, naturalized, 1946. Son of Georg and Betty (Gutherz) Arnheim.
Doctor of Philosophy, University Berlin, 1928; Doctor of Fine Arts (honorary), Rhode Island School Design, 1976; Doctor of Fine Arts (honorary), Kansas City The Art Institute of Chicago, 1985; Doctor of Fine Arts (honorary), Massachusetts College Art, 1985; Doctor of Fine Arts (honorary), Albion College, 1987; Doctor of Letters (honorary), Bates College, 1981; Doctor of Letters (honorary), Marquette U., 1984; Doctor of Letters (honorary), Sarah Lawrence College, 1985.
Associate editor publications, International Institute Ednl. Films, Rome, 1933-1938; lecturer, visiting professor, Graduate Faculty, New School Social Research, New York City, 1943-1968; member of faculty, Sarah Lawrence College, 1943-1968; professor psychology of art, Carpenter Center for Visual Arts, Harvard University, 1968-1974; emeritus, Carpenter Center for Visual Arts, Harvard University, since 1974. Visiting professor University of Michigan, Ann Arbor, 1974-1984.
(En el presente libro, obra provocativa y con múltiples de...)
( This essay is an attempt to reconcile the disturbing co...)
(From the Introduction: The papers collected in this book...)
( For many years Rudolf Arnheim, known as the leading psy...)
( For many years Rudolf Arnheim, known as the leading psy...)
( The power of the visual effects exerted by architecture...)
( Rudolf Arnheim has been known, since the publication of...)
( Rudolf Arnheim has been known, since the publication of...)
( Thousands of readers who have profited from engagement ...)
( In the fall of 1957 the University of California Press ...)
( For thirty-five years Visual Thinking has been the gold...)
(Presents an interpretation of the expression of art and t...)
( Since its publication fifty years ago, this work has es...)
(Art and Visual Perception : A Psychology of the Creative ...)
( Never before published essays by the widely admired psy...)
(The essays collected in this volume amount to a call to a...)
(Entropy and Art: An Essay on Disorder and Order)
(Book annotation not available for this title. Title: Arte...)
(Toward a Psychology of Art: Collected Essays)
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Fellow American Psychological Association (president division psychology and arts 1957-1958, 65-66, 70-71), American Academy Arts and Sciences. Member American Society Aesthetics (president 1959-1960, 79-80), College Art Association M C.
Married Mary Elizabeth Frame, April 11, 1953. 1 daughter, Margaret.