The Power of the Center
by Arnheim, RudolfEdition: 2nd
Format: Paperback
Pub. Date: 2009-10-19
Publisher(s): Ingram Publisher Services, Inc.
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Summary
What deternines the overall organization of visual form in works op painting, sculpture, and architecture? Artists have sometimes ventured practical rules of thumb, and mathmaticians have looked for formulas that would prescribe ideal spatial relations between shapes. This Companion to Rudolf Arnheim's classic, Art and Visual Perception, shows how compositional form makes sense only when it utilizes visual symbols of the life experience that makes art meaningful. Book jacket.
Author Biography
Rudolf Arnheim (1904-2007) was Professor Emeritus of the Psychology of Art at Harvard University and the author of many books, including Art and Visual Perception, Film as Art, The Dynamics of Architectural Form, and Visual Thinking.
Table of Contents
| Introduction | p. vii |
| Two Spatial Systems | p. 1 |
| A master key to composition | p. 1 |
| Centricity and eccentricity | p. 2 |
| Vectors and their targets | p. 4 |
| Interaction of the systems | p. 8 |
| Centers And Their Rivals | p. 13 |
| Geometric and dynamic | p. 13 |
| The pull of gravity | p. 15 |
| The visual center underneath | p. 18 |
| Varieties of weight | p. 21 |
| Sculpture and the ground | p. 24 |
| Matisse under pressure | p. 33 |
| The Viewer as a Center | p. 36 |
| Self-centered vision | p. 36 |
| Various positions in space | p. 37 |
| A slab in suspense | p. 40 |
| Seeing the world sideways | p. 42 |
| The viewer as an influence | p. 44 |
| Looking into depth | p. 47 |
| Limits And Frames | p. 51 |
| Enclosures spread energy | p. 51 |
| Tampering with the range | p. 52 |
| The functions of frames | p. 55 |
| Framed space not quite closed | p. 58 |
| Rectangular formats | p. 62 |
| Challenges to the middle | p. 66 |
| Perspective creates a center | p. 68 |
| Ton Do And Square | p. 72 |
| Floating shapes | p. 72 |
| Tondi stress the middle | p. 75 |
| The role of eccentricity | p. 79 |
| Disks inside | p. 85 |
| The oval | p. 89 |
| Squares balance the coordinates | p. 94 |
| Aibers's nests of squares | p. 101 |
| Mondrian overrides centricity | p. 104 |
| A square by Munch | p. 107 |
| Centers as hubs | p. 109 |
| Provimg Stability | p. 109 |
| Tensition through deviation | p. 119 |
| Dynamics of the human figuer | p. 126 |
| Saltimbanques and Guernica | p. 129 |
| Centers as Dividers | p. 133 |
| Bipolar composition | p. 133 |
| The necessary latch | p. 137 |
| Diagonals | p. 143 |
| Noli metengere | p. 146 |
| Volumes and nodes | p. 149 |
| Volumes and vectors interactiong | p. 149 |
| Kinds of nodes | p. 151 |
| Nodes of the body | p. 154 |
| Faces and hands | p. 158 |
| Singing man | p. 162 |
| Space in depth | p. 166 |
| Perceiving the third dimension | p. 166 |
| Objects behaving in space | p. 168 |
| Enclosures replacing frames | p. 170 |
| The added view of projection | p. 177 |
| Coctinuity of space | p. 179 |
| What perspective Contributes | p. 183 |
| Time in space | p. 187 |
| The symbolism of the frontal plane | p. 190 |
| Centers and grids in buildings | p. 195 |
| Grids prevail | p. 195 |
| Design in elevation | p. 197 |
| Design on the ground | p. 200 |
| Coping with full space | p. 204 |
| Composition in time | p. 212 |
| Are there exceptions? | p. 214 |
| A physical foundation | p. 217 |
| Composition carries meaning | p. 221 |
| Glossary | p. 225 |
| Bibliography | p. 231 |
| Acknowledgments | p. 235 |
| Index | p. 237 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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