The Resource Modern art and modern science : the parallel analysis of vision, by Paul C. Vitz and Arnold B. Glimcher

Modern art and modern science : the parallel analysis of vision, by Paul C. Vitz and Arnold B. Glimcher

Label
Modern art and modern science : the parallel analysis of vision
Title
Modern art and modern science
Title remainder
the parallel analysis of vision
Statement of responsibility
by Paul C. Vitz and Arnold B. Glimcher
Creator
Contributor
Subject
Language
eng
Cataloging source
DLC
http://library.link/vocab/creatorDate
1935-
http://library.link/vocab/creatorName
Vitz, Paul C.
Illustrations
  • illustrations
  • plates
Index
index present
LC call number
  • NX165
  • N71
LC item number
.V58 1984
Literary form
non fiction
Nature of contents
bibliography
NLM call number
NX 165
NLM item number
V854m 1984
http://library.link/vocab/relatedWorkOrContributorName
Glimcher, Arnold B
http://library.link/vocab/subjectName
  • Art
  • Visual perception
  • Art and science
  • Art
  • Visual Perception
  • Science
  • Art
  • Perception visuelle
  • Art et sciences
  • Art and science
  • Art
  • Visual perception
  • Malerei
  • Naturwissenschaften
  • Kunst
  • Waarneming
  • Psychologische aspecten
Label
Modern art and modern science : the parallel analysis of vision, by Paul C. Vitz and Arnold B. Glimcher
Instantiates
Publication
Note
Includes index
Bibliography note
Bibliography: p. 343-373
Carrier category
volume
Carrier category code
nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • One : The Problem. Abstraction ; Flattening of Picture Plane ; Theorizing Tendencies ; Perceptual Character ; The Thesis : Brief Introduction ; Standard Art History : A Criticism (or Two) -- Two : The Thesis of Parallelism. Analytic-Reductionist Thought ; Synthetic-Hierarchical Thought ; Analytic-Reductionism as the Basis for Abstraction and Flatness in Modernist Art ; Examples ; Mid-Nineteenth Century : A Special Situation ; Mid-Nineteenth-Century Psychology ; The General Thesis : Conceptual Parallelism ; The Specific Thesis : Pictorial Parallelism ; The Case of Flaubert and Madame Bovary -- Three : Light, Depth, and Photography. Helmholtz and the Perception of Light ; The Rood-Helmholtz Insight ; Manet and Modern Flatness ; Manet and Photography : General Context ; Photography and Flatness ; Photographic Influence on Manet : Specific Evidence ; Japanese Prints : The Case against Early Influence on Manet ; Manet and Arnheim's Thesis on the Cinema ; Conclusion -- Four : Color : Theorists in Science and Art. The Rood-Helmholtz Insight and Monet ; "A Psychophysical Aesthetic" ; Modern Color : Chevreul and Impressionism ; Modern Color : Chevreul, Delacroix, and Baudelaire ; Seurat and Stilling : Pointillism and Elementism ; The Elementist Theory of Perception : Wilhelm Wundt and Ernst Mach ; Charles Henry : A Scientific Theory of Aesthetics ; Delaunay : The Disks of Visual Science ; Kupka : Major Similarities to Delaunay ; Kandinsky : A Color Theorist ; Mondrian and Science : Schoenmaekers's Color Theory ; Klee : Progressions and Charts ; Conclusion
  • Five : Space and Time. The Stereoscope ; Eadweard Muybridge : His Studies of Vision ; Marey : French Developments ; Manet : A Specific Example of Fractured Space ; Cezanne : More Fractured Yet ; Futurism and Duchamp ; Distorted Space -- Six : Form and the Elements of Form. Figure and Ground ; Form-Quality : The Neglected Early Gestalt Movement ; Malevich ; Gestalt Psychology and "Gestalt" Artists ; Picasso ; Klee ; The Elements of Form : The Nineteenth Century ; The Elements of Form : The Early Twentieth Century ; Post-Gestalt Visual Elements ; Corners and Angles ; Conclusion -- Seven : New Varieties of Visual Experience. Illusion : Movement Effects ; Illusion : Miscellaneous ; Grids ; Gratings ; Depth : Texture Gradients ; Depth : Drawings of Cubes and Other Two-Dimensional Forms ; Randomness ; Redundancy -- Eight : The Thesis Reviewed. Modernism : Why So Theoretical ; The Relation of Parallelism to Other Theories of Modernist Art ; Mimesis : The Problem of What Is Painted ; Higher Meaning : The Problem of Religious Mysticism and Romantic Symbolism ; Surrealism : The Problem of the Image ; False Parallels ; Weak Evidence for Recent Years ; Future Possibilities
Dimensions
26 cm
Extent
xi, 384 pages, [5] pages of plates
Isbn
9780030624667
Lccn
82022256
Media category
unmediated
Media MARC source
rdamedia
Media type code
n
Other physical details
illustrations (some color)
System control number
(OCoLC)8975701
Label
Modern art and modern science : the parallel analysis of vision, by Paul C. Vitz and Arnold B. Glimcher
Publication
Note
Includes index
Bibliography note
Bibliography: p. 343-373
Carrier category
volume
Carrier category code
nc
Carrier MARC source
rdacarrier
Content category
text
Content type code
txt
Content type MARC source
rdacontent
Contents
  • One : The Problem. Abstraction ; Flattening of Picture Plane ; Theorizing Tendencies ; Perceptual Character ; The Thesis : Brief Introduction ; Standard Art History : A Criticism (or Two) -- Two : The Thesis of Parallelism. Analytic-Reductionist Thought ; Synthetic-Hierarchical Thought ; Analytic-Reductionism as the Basis for Abstraction and Flatness in Modernist Art ; Examples ; Mid-Nineteenth Century : A Special Situation ; Mid-Nineteenth-Century Psychology ; The General Thesis : Conceptual Parallelism ; The Specific Thesis : Pictorial Parallelism ; The Case of Flaubert and Madame Bovary -- Three : Light, Depth, and Photography. Helmholtz and the Perception of Light ; The Rood-Helmholtz Insight ; Manet and Modern Flatness ; Manet and Photography : General Context ; Photography and Flatness ; Photographic Influence on Manet : Specific Evidence ; Japanese Prints : The Case against Early Influence on Manet ; Manet and Arnheim's Thesis on the Cinema ; Conclusion -- Four : Color : Theorists in Science and Art. The Rood-Helmholtz Insight and Monet ; "A Psychophysical Aesthetic" ; Modern Color : Chevreul and Impressionism ; Modern Color : Chevreul, Delacroix, and Baudelaire ; Seurat and Stilling : Pointillism and Elementism ; The Elementist Theory of Perception : Wilhelm Wundt and Ernst Mach ; Charles Henry : A Scientific Theory of Aesthetics ; Delaunay : The Disks of Visual Science ; Kupka : Major Similarities to Delaunay ; Kandinsky : A Color Theorist ; Mondrian and Science : Schoenmaekers's Color Theory ; Klee : Progressions and Charts ; Conclusion
  • Five : Space and Time. The Stereoscope ; Eadweard Muybridge : His Studies of Vision ; Marey : French Developments ; Manet : A Specific Example of Fractured Space ; Cezanne : More Fractured Yet ; Futurism and Duchamp ; Distorted Space -- Six : Form and the Elements of Form. Figure and Ground ; Form-Quality : The Neglected Early Gestalt Movement ; Malevich ; Gestalt Psychology and "Gestalt" Artists ; Picasso ; Klee ; The Elements of Form : The Nineteenth Century ; The Elements of Form : The Early Twentieth Century ; Post-Gestalt Visual Elements ; Corners and Angles ; Conclusion -- Seven : New Varieties of Visual Experience. Illusion : Movement Effects ; Illusion : Miscellaneous ; Grids ; Gratings ; Depth : Texture Gradients ; Depth : Drawings of Cubes and Other Two-Dimensional Forms ; Randomness ; Redundancy -- Eight : The Thesis Reviewed. Modernism : Why So Theoretical ; The Relation of Parallelism to Other Theories of Modernist Art ; Mimesis : The Problem of What Is Painted ; Higher Meaning : The Problem of Religious Mysticism and Romantic Symbolism ; Surrealism : The Problem of the Image ; False Parallels ; Weak Evidence for Recent Years ; Future Possibilities
Dimensions
26 cm
Extent
xi, 384 pages, [5] pages of plates
Isbn
9780030624667
Lccn
82022256
Media category
unmediated
Media MARC source
rdamedia
Media type code
n
Other physical details
illustrations (some color)
System control number
(OCoLC)8975701

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