The Power of the Center: A Study of Composition in the Visual ArtsUniversity of California Press, 1983 M01 1 - 249 páginas The tension between two systems for understanding and picturing space, the concentric and the Cartesian, is regarded by the author as the key to composition in painting, sculpture and architecture |
Contenido
WHAT IS A CENTER? | 1 |
The Center and the Middle 1 Around the Balancing Center 5 In | 7 |
The Pull of Gravity 10 The Viewer as a Dynamic Center 12 Looking | 36 |
LIMITS AND FRAMES | 42 |
Comprehension Requires Boundaries 42 Once More the Viewer | 49 |
Various Formats 60 The Limits of Sculpture 62 Competition for | 63 |
THE ACCENT ON THE MIDDLE | 71 |
The Center Contributes Stability 72 Playing Around the Center | 78 |
Noli Me Tangere | 112 |
TONDO AND SQUARE | 115 |
Floating Shapes 115 Responses to the Round Frame 119 The Tondo | 135 |
A Square by Munch | 151 |
Vectors Control Meaning 154 Kinds of Nodes 155 The Human | 167 |
Objects Behaving in Space 172 The Added View of Projection | 181 |
The Charting of the Vista 185 Looking into Odd Spaces 194 The | 207 |
The Pattern in Elevation and Plan 210 Full ThreeDimensionality | 224 |
Dividing in Two | 87 |
The Shapes Create the Hub 92 Upright Compositions | 99 |
Horizontal Compositions 102 Diagonals Support and Divide | 106 |
Glossary | 237 |
Otras ediciones - Ver todas
The Power of the Center: A Study of Composition in the Visual Arts Rudolf Arnheim Vista de fragmentos - 1982 |
The Power of the Center: A Study of Composition in the Visual Arts Rudolf Arnheim Vista de fragmentos - 1982 |
The Power of the Center: A Study of Composition in the Visual Arts Rudolf Arnheim Vista de fragmentos - 1982 |
Términos y frases comunes
action angle architectural artist attraction balancing center base basic body building Cartesian grid central axis central perspective central vertical centric system Christ circle circular color components compositional center compositional pattern concentric configuration contrapposto converge creates crossing defined Degas depth effect deviation diagonal direction distance dominant downward dynamic center Edgar Degas ellipse example eyes façade field of forces foreground format frame framework frontal plane function geometrical gravity ground hand Hann Trier head interaction landscape Le Corbusier linear look Madonna meaning Michelangelo's Mondrian node oblique optical organized painter painting particular pattern Paul Klee perceived perceptual physical space pictorial space picture Pier Luigi Nervi projection rectangle rectangular relation scene sculpture shape square structure surface surrounding symbolic symmetry tension theme three-dimensional three-dimensional space tion tondo torso upper upright vanishing point vectors vertical and horizontal viewer visual objects visual weight wall Western painting wheel window whereas whole