The final prices may differ from the prices shown due to specifics of VAT rules About this book Arnheim, Gestalt and Art is the first book-length discussion of the powerful thinking of the psychologist of art, Rudolf Arnheim. By proceeding in a direction from general to specific and then proceeding through dynamic processes as they unfold in time creativity, development, etc. About the authors The author is a professional art historian but began his career at the University of Michigan where he met Rudolf Arnheim. Subsequently he studied experimental psychology with Alain Gilchrist and then devoted himself to art history.
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Springer, ISBN: His name invariably comes up in discussions of art and perception. Yet, I believe, he remains an enigma, a powerful thinker who seems to defy classification. Part of the puzzle in locating his niche, perhaps, is that his original and perceptive approach is not easily placed within typical categories.
Another component, no doubt, is that until recently there have been no book-length studies of his work. Structurally the book is divided into three parts: foundational principles, such principles applied to the various arts, and the developmental aspect of art.
It also communicates that Arnheim distinguished three levels in the perception of affects. First, he identifies a crucial cognitive state of the identification of objects. This could correspond to the affect as it is experienced.
Then, there is the expressive and motivational component. These are identical and could correspond to the perceptual expression that is available to other perceivers. Thirdly, there is the emotional expression, the level of tension that is perceived by the person. Verstegen also compares cognitive nativism associated with J. Gibson with cognitive inferentialism associated with Helmholtz.
In short, Arnheim recognized that the Gibson-ian view left little space for imagination and made it difficult to discuss anything other than representational art, a point often made by others as well. The Infer-entialists, on the other hand, depend so much on "inference" that the vast terrain covered by their theories fails to adequately grapple with the problems of perceptual organization in a way that meaningfully integrates the dynamic aspects of the art experience and the creation of art.
Also mentioned are topics such as the recent revival of Gestalt psychology in the work of people such as Steven Lehar , how Arnheim intersects with researchers commonly associated with vision and cognitive science e. Zeki, Solso, Shepard, Kosslyn , where he dissents from Gombrich and Wollheim, how Gestalt psychology compares with information processing, and how his views align with those of Werner, Piaget and various art educators. They convey that many of his ideas e.
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Arnheim, Gestalt and Art
Early years[ edit ] Rudolf Arnheim was born into a Jewish family in on Alexanderplatz , in Berlin. However, Rudolf wanted to continue his education, so his father agreed that he could spend half his week at the university and the other half at the factory. Migration around Europe and to the United States[ edit ] Arnheim lived and wrote about film and radio in Rome for the next six years. This child, a girl, died around the age of 12 while Arnheim and his first wife lived in Italy during the s. Rudolf Arnheim has two sisters who survived the Holocaust.