Art: The Perception in Visual Science

The study, reference, and informative book under the title “Art and Perception” consists of two interrelated parts. InLibrary, Tunnel, Books, Stacks, Shelves, Scene, Reading both volumes, the author provides readers with a wealth of elaborate topics and aspects that are related to the fascinating and fascinating world of modern and classical art and visual perception.

Art and Perception

The author has secured the collaboration of leading authors and scientists with experience and knowledge from the fields of art, sight, perception, physiology, and psychology. As a result, the books have content with a high scientific character and detail in dealing with thematic approaches to perception and spatial vision. Of course, the reader is also introduced to the interesting phenomenon of the visual illusions, the eye, and the functioning of our brain in the perception process. Many theories of leading researchers are discussed and provide a challenging view of the total process of seeing and perceiving in art. The interested reader will also find very interesting information about the history of visual images and developments in the visual arts.

In the first book of this unique series, Art and Perception, the author and compiler Baingio Pinna writes an introductory treatise on art as an original scientific subject that evolved into a new scientific view of art. In his introduction, he takes the reader to the practical situation of the German researcher Max Wertheimer, who turns a simple observation into an educational study.

The author also examines some paintings by well-known painters and analyzes the image to fill in and explain the whole psychologically. He turns art into a scientific study. The author dedicated this light-hearted and interesting article to Rudolf Arnheim (1904-2007), one of the greatest masters of the psychology of art with a great influence on the developments of the Psychology of Art course.

After this introductory article, several experts provide information about spatial representations in art, the design of mirror, random, and symmetrical image patterns. Experts have also given advice in many art forms such as the use of sanders (Ryobi P411) to make your artwork appealing.

The work of Piranesi and its infinite spaces inspired artists and scientists in a special way and soon many forms of impossible constructions arose. Swedish painter and graphic artist Reutersvärd has transformed the curious effects of Piranesi as one of the first modern artists into an impossible triangle.

Nicholas J. Wade’s contribution provides a perfect and stimulating introduction to the phenomena of distorted figures, double meanings of images, search pictures, inverted figures, and optical illusions. The work of Patrick Hughes and his curious and magical play with the perspective in a three-dimensional representation with a jumping image is of interest to several authors.

The second book starts with the article on the illusion of art with beautiful works by famous artists. He introduces his readers to art from another work of art. For some authors, the aspect of the era is worthwhile for an in-depth study of the performances in various works. Hughes’ work is also extensively discussed in the second part. Richard L. Gregory’s contribution makes extensive reference to Helmholtz’s work and too many forms of classical geometric optical illusions. All aspects of visual perception in relation to art are described in an excellent way in this series. The series is particularly suitable for students in psychology and in art history.