New Essays on the Psychology of Art.

When such a prominent psychologist of art as Arnheim is so critical of photography, it is no wonder that even now photography is not highly regarded as a type of fine art. Nonetheless, we should not fully accept his theory without careful examination. His theory of visual dynamic is based on the assumptions of homeostatic equilibrium and entropy, which are believed to be universal principles in the human world and the universe. However, I wonder whether visual forces as a major criterion in art is universal or cultural. I agree with Arnheim that photography is an art of particularity, but this doesn't mean that photography must be from "outside in." In Arnheim's theory, if photography has too much natural accident, it will hardly carry visual dynamic. But if it has too much photographer intervention and manipulation of the subject, it will paralyze the expression of the subject's essence. Perhaps it is the photographer's mission to strive for a balance between these tensions.

1986: New Essays on the Psychology of Art.

New essays on the psychology of art

New Essays on the Psychology of Art

How is the psychology of art related to photography? When I mention the psychology of art, many people may think it is a type of experimental psychology that studies human perception of color and composition, which would seem to have a natural connection to photography. Interestingly enough, the arguably most well-known psychologist of art, Rudolf Arnheim, is not an experimental psychologist. With the exception of his dissertation and one or two other writings, he has never published an experimental study (Verstegen, 1996). Instead, throughout his career he has "philosophized" a psychology of art. Arnheim, a German immigrant to America, studied psychology at the University of Berlin during the 1920s. At that time psychology was considered a branch of philosophy (Behrens, 1998).

New essays on the psychology of art by Rudolf Arnheim ..

The objective of this article is to introduce and criticize Arnheim's "philosophical/psychological" view of photography. To comprehend his view of photography, a general overview of his psychology of art is essential also. "Dynamic" expression is the theme of Arnheim's theory. In his theory, the more visual tensions an artist presents, the more dynamic expression the work carries. Arnheim believes that photography is not as dynamic as painting because photography is too environment-driven to grasp the essence of a subject or express the authentic personality of a model. In the following, I will outline the fundamental concepts of Arnheim's theory and give a brief critique to some of his views.

New essays on the psychology of art.
Rudolf arnheim new essays on the psychology of art Coursework Academic Writing Service

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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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Toward a Psychology of Art: Collected Essays - …

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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Towards a Psychology of Art, Collected Essays by Rudolf Arnheim, ..