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ED)MUNirBURKE PEL "1 iD « '1//1 vm Canartexpandourknowledgeoftheworldandits people?Theanswer,beautifullyputforthin Vari- etiesofVisualExpedience,isadefiniteyes!Inthis fascinatingbook. Professor Edmund Feldman ex- plores the vital connectionsbetweenvisual forms and ev- er^'dayconteinporar)'life. Thetextbeginsbyexplaininghowartisused,examin- ingthedynamicinterplaybetweenartandpersonalexpres- sion,artandsocialcommunication,andartandthephysical environment. It then goes on to analyze various artistic styles—themodesofexpressionthatcutacrosschronolog- — ical,geographic,national,andethnic categories and pro- videsanimaginativesystemofclassificationfordealingwith the often bewildering array ofcontemporary' art objects. The discussion movesnextto acompellinganalysisofthe waysinwhichthevisualelementsandthebasicconceptsof artareorganizedandhowtheyareperceived. In the next section, the major art forms ofpainting, sculpture, architecture,photography, and cinema are con- sideredthroughhistoricalcomparisonsandexaminationof theworksofpreeminentartistsofourtime.Here,theem- phasis is on howtechnique affectswhat artistscreate and whattheviewersees.ModernartmovementssuchasPop, Op,Assemblage,Environments,Happenings,PrimaryStruc- tures,Earthworks,ShapedCanvases,andMegastructuresare discussed.Theinclusionofhandcraftsandindustrialdesign, helpstoprovideabalancedpictureofourvisualworld.Tlie final section of the book offers a practical guide to art — criticism theprocessofforminginterpretationsandjusti- fyingevaluationsofindividualworksofart. InthisFourthEditionofVarietiesofVisualExpetience, manyexcitingchangeshavebeenintroduced.Anewchap)- terontheaestheticsofarthasbeenincluded.Therearenow 300colorimagesand45newillustrationshavebeenadded ft-omaroundtheworld.Thebibliographyhasbeenrevised, theglossaryexpanded,andthetime-linesupdated.Thevir- tuesofthepreviouseditionhavealsobeenretained:large, oftenfull-page,illustrations;aliighlyreadabletextandlong captions; and the careful juxtaposition ofcontrasting or complementary works to help the reader develop critical insight. ThenewVarietiesofVisualExperienceoffersavisual andintellectualfeast. 867illustratiotjs. including300platesinfullcolor VARIETIES OF VISUAL EXPERIENCE VAR T E E S I I FOURTH EDITION VISUAL OF EDMUND BURKE FEED MAN ProfessorofArt, UniversityofGeorgia EXPERIENCE PRENTICE HALL, INC., and HARRY N. ABRAMS. INC., PUBLISHERS TO MERRILL 1928-1972 ProjectManager: Sheila Franklin Lieber Editor:JoanneGreenspun Art Direction: Dirk Luykx Designers: Gilda Hannah, withGayleJaeger PhotoResearch: Catherine Ruello LibraryofCongressCataloguing-in-PublicationData Feldman,EdmundBurke. — Varietiesofvisualexperience/EdmundBurkeFeldman. -Ithed, p. cm. Includesbifiliographicalreferencesandindex. ISBN—0-13-953449-0(pbk.) 1.Art Psychology.2,Composition(Art)3.Visualperception. I.Title. N71.F42 1992 701—dc20 92-7771 CIP FourthEdition1992 Textcopyright©1992EdmundBurkeFeldman Illustrationscopyright©1987, 1992HarryN.Abrams,Inc. Publishedin1992byHarryN.Abrams,Incorporated,NewYork ATimesMirrorCompany PrenticeHall,Inc. Simon&Schuster/AViacomCompany UpperSaddleRiver.NewJersey07458 Allrightsreserved.Nopanofthecontentsofthisbookmaybe reproducedwithoutthewrittenpermissionofthepublisher PrintedandboundinJapan Contents Preface 9 PART ONE THE FUNCTIONS OF ART CHAPTERONE PERSONALFUNCTIONS OFART 12 ArtandPsychologicalExpression 12 Love,Sex,andMarriage 15 DeathandMorbidity 22 SpiritualConcern 29 AestheticExpression 36 CHAPTERTWO THE SOCIALFUNCTIONS OFART 43 PoliticalandIdeologicalExpression 45 SocialDescription 51 Satire 58 GraphicCommunication 62 CHAPTERTHREE THE PHYSICALFLINCTIONS OFART 72 Architecaire:TheDwelling 74 Large-ScaleDesign:TlieCommunity' 86 TheCraftsandIndustrialDesign 106 PARTTWO THE STYLES OF ART CHAPreRFOUR THESTYLEOFOBJECn\^ ACCLIRACY 123 TheImitationofAppearances 123 Tlie.'\rtistasDetachedObserver 127 TlieArtistasSelectiveEye 129 VariationsoftheStyle 134 DevicesofObjectiveAccuracy 137 CROFTERn\T THE ST\TE OF FORMALORDER 143 TlieTransientandthePermanent 14^ KindsofFormalOrder 146 Conclusion 162 CRWTRSIX THEST^TEOFEMOTION 164 RomanticismandEmotion 166 TheRoleofDistortion 1^5 AnxietyandDespair 175 JoyandCelebration 181 CROFTERSE\-EN THESTYTEOFFANTASY 186 Myth 188 DreamsandHallucinations 189 ScientificFantasy 199 FantasyandIllusionism 199 PART THREE THE STRUCTURE OF ART CROFTEREiGRT THEVISUALELEMENTS: GRAMMAR 207 Line 207 Shape 211 UghtandDark 217 Color 226 Texture 231 cuAPreRNINE ORGANIZINGTHE ELEMENTS: DESIGN 234 Unity 236 Balance 240 Rlivthm 243 Proportion 248 Conclusion 249 CHAFTERTEN PERCEIVINGTHE ELEMENTS: AESTHETICS 251 AestheticWork 251 AestheticExperience 252 EmpathyandPsychicDistance 254 ClosureandGoodGestalt 257 FundingandFusion 260 LikingandDisliking 261 Cross-CulruralFactors 264 Conclusion 265 PART FOUR THE INTERACTION OF MEDIUM AND MEANING CHAPTERELEVEN PAINTING 269 TheFugitiveandthePermanent 270 DirectandIndirectTechniques 274 BrushworkandEmotion 278 Frottage,Grattage,andDecalcomania 291 ThePictureandtheWall 294 BeyondCollage:Assemblage,Environments,Happenings 297 MinimalandColorFieldPainting 314 TheShapedCanvas 317 EroticArt 318 Conclusion 322 CHAPTERTWELVE SCULPTURE 323 Modeling,Carving,Casting,andConstructing 323 FromMonolithtoOpenForm 335 Constructivism 3'+0 SculpturalAssemblage 351 Niches,Boxes,andGrottoes 360 BeyondConstructivism:PrimaryStructures 366 KineticSculpture 368 SculpaireandtheCrafts 374 Conclusion 377 CHAPTERTHIRTEEN ARCHITECTURE 380 TheClassicMaterials 380 ModernMaterials 390 TheStrucairal Devices 398 ConstructorsandSculptors 420 1 CHAPTERFOURTEEN PHOTOGRAPHY 429 PhotographyandReality 430 PhotographyandPainting 431 TheAmateuruithaCamera 433 InstantaneousSeeing 437 Photojournalism 438 PrincipleoftheFrame 441 PhotographyandAbstraction 442 TliePhotographicSlide 444 TliePhotographerasArtist 445 PhotographicCriticism 44? CHAPTERFIFTEEN IMAGES INMOTION: FILMANDTELEVISION 455 TheManipulationofSpace-Time 456 FilmandTVTypes 460 FilmedVersusTelevisedImagery 46l FilmsandDreams 462 TheDemocracyofFilm 463 TheCriticali^preciationofCinema 464 Conclusion 466 PART FIVE THE PROBLEMS OF ART CRITICISM CHAPTERSIXTEEN THETHEORYOFARTCRITICISM 469 TheToolsofArtCriticism 47 TypesofArtCriticism 473 KindsofCriticalJudgment 476 Conclusion 486 CHAPTERSEVENTEEN THE CRITICALPERFORMANCE 487 Description 487 FormdAnalysis 490 Interpretation 494 Judgment 503 Conclusion 510 Glossary 511 Time-Lines 516 SelectedBibliography 524 Index 528 PhotoCredits 541

Description:
Library of Congress Cataloguing-in-Publication Data Feldman, Edmund Burke. Varieties of visual experience / Edmund Burke Feldman. 4th ed, p. cm. Includes bifiliographical references and index. ISBN 0-13-953449-0 (pbk.) 1. Art—Psychology. 2, Composition (Art) 3. Visual perception. I. Title. N71.F42
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ED)MUNirBURKE PEL "1 iD « '1//1 vm Canartexpandourknowledgeoftheworldandits people?Theanswer,beautifullyputforthin Vari- etiesofVisualExpedience,isadefiniteyes!Inthis fascinatingbook. Professor Edmund Feldman ex- plores the vital connectionsbetweenvisual forms and ev- er^'dayconteinporar)'life. Thetextbeginsbyexplaininghowartisused,examin- ingthedynamicinterplaybetweenartandpersonalexpres- sion,artandsocialcommunication,andartandthephysical environment. It then goes on to analyze various artistic styles—themodesofexpressionthatcutacrosschronolog- — ical,geographic,national,andethnic categories and pro- videsanimaginativesystemofclassificationfordealingwith the often bewildering array ofcontemporary' art objects. The discussion movesnextto acompellinganalysisofthe waysinwhichthevisualelementsandthebasicconceptsof artareorganizedandhowtheyareperceived. In the next section, the major art forms ofpainting, sculpture, architecture,photography, and cinema are con- sideredthroughhistoricalcomparisonsandexaminationof theworksofpreeminentartistsofourtime.Here,theem- phasis is on howtechnique affectswhat artistscreate and whattheviewersees.ModernartmovementssuchasPop, Op,Assemblage,Environments,Happenings,PrimaryStruc- tures,Earthworks,ShapedCanvases,andMegastructuresare discussed.Theinclusionofhandcraftsandindustrialdesign, helpstoprovideabalancedpictureofourvisualworld.Tlie final section of the book offers a practical guide to art — criticism theprocessofforminginterpretationsandjusti- fyingevaluationsofindividualworksofart. InthisFourthEditionofVarietiesofVisualExpetience, manyexcitingchangeshavebeenintroduced.Anewchap)- terontheaestheticsofarthasbeenincluded.Therearenow 300colorimagesand45newillustrationshavebeenadded ft-omaroundtheworld.Thebibliographyhasbeenrevised, theglossaryexpanded,andthetime-linesupdated.Thevir- tuesofthepreviouseditionhavealsobeenretained:large, oftenfull-page,illustrations;aliighlyreadabletextandlong captions; and the careful juxtaposition ofcontrasting or complementary works to help the reader develop critical insight. ThenewVarietiesofVisualExperienceoffersavisual andintellectualfeast. 867illustratiotjs. including300platesinfullcolor VARIETIES OF VISUAL EXPERIENCE VAR T E E S I I FOURTH EDITION VISUAL OF EDMUND BURKE FEED MAN ProfessorofArt, UniversityofGeorgia EXPERIENCE PRENTICE HALL, INC., and HARRY N. ABRAMS. INC., PUBLISHERS TO MERRILL 1928-1972 ProjectManager: Sheila Franklin Lieber Editor:JoanneGreenspun Art Direction: Dirk Luykx Designers: Gilda Hannah, withGayleJaeger PhotoResearch: Catherine Ruello LibraryofCongressCataloguing-in-PublicationData Feldman,EdmundBurke. — Varietiesofvisualexperience/EdmundBurkeFeldman. -Ithed, p. cm. Includesbifiliographicalreferencesandindex. ISBN—0-13-953449-0(pbk.) 1.Art Psychology.2,Composition(Art)3.Visualperception. I.Title. N71.F42 1992 701—dc20 92-7771 CIP FourthEdition1992 Textcopyright©1992EdmundBurkeFeldman Illustrationscopyright©1987, 1992HarryN.Abrams,Inc. Publishedin1992byHarryN.Abrams,Incorporated,NewYork ATimesMirrorCompany PrenticeHall,Inc. Simon&Schuster/AViacomCompany UpperSaddleRiver.NewJersey07458 Allrightsreserved.Nopanofthecontentsofthisbookmaybe reproducedwithoutthewrittenpermissionofthepublisher PrintedandboundinJapan Contents Preface 9 PART ONE THE FUNCTIONS OF ART CHAPTERONE PERSONALFUNCTIONS OFART 12 ArtandPsychologicalExpression 12 Love,Sex,andMarriage 15 DeathandMorbidity 22 SpiritualConcern 29 AestheticExpression 36 CHAPTERTWO THE SOCIALFUNCTIONS OFART 43 PoliticalandIdeologicalExpression 45 SocialDescription 51 Satire 58 GraphicCommunication 62 CHAPTERTHREE THE PHYSICALFLINCTIONS OFART 72 Architecaire:TheDwelling 74 Large-ScaleDesign:TlieCommunity' 86 TheCraftsandIndustrialDesign 106 PARTTWO THE STYLES OF ART CHAPreRFOUR THESTYLEOFOBJECn\^ ACCLIRACY 123 TheImitationofAppearances 123 Tlie.'\rtistasDetachedObserver 127 TlieArtistasSelectiveEye 129 VariationsoftheStyle 134 DevicesofObjectiveAccuracy 137 CROFTERn\T THE ST\TE OF FORMALORDER 143 TlieTransientandthePermanent 14^ KindsofFormalOrder 146 Conclusion 162 CRWTRSIX THEST^TEOFEMOTION 164 RomanticismandEmotion 166 TheRoleofDistortion 1^5 AnxietyandDespair 175 JoyandCelebration 181 CROFTERSE\-EN THESTYTEOFFANTASY 186 Myth 188 DreamsandHallucinations 189 ScientificFantasy 199 FantasyandIllusionism 199 PART THREE THE STRUCTURE OF ART CROFTEREiGRT THEVISUALELEMENTS: GRAMMAR 207 Line 207 Shape 211 UghtandDark 217 Color 226 Texture 231 cuAPreRNINE ORGANIZINGTHE ELEMENTS: DESIGN 234 Unity 236 Balance 240 Rlivthm 243 Proportion 248 Conclusion 249 CHAFTERTEN PERCEIVINGTHE ELEMENTS: AESTHETICS 251 AestheticWork 251 AestheticExperience 252 EmpathyandPsychicDistance 254 ClosureandGoodGestalt 257 FundingandFusion 260 LikingandDisliking 261 Cross-CulruralFactors 264 Conclusion 265 PART FOUR THE INTERACTION OF MEDIUM AND MEANING CHAPTERELEVEN PAINTING 269 TheFugitiveandthePermanent 270 DirectandIndirectTechniques 274 BrushworkandEmotion 278 Frottage,Grattage,andDecalcomania 291 ThePictureandtheWall 294 BeyondCollage:Assemblage,Environments,Happenings 297 MinimalandColorFieldPainting 314 TheShapedCanvas 317 EroticArt 318 Conclusion 322 CHAPTERTWELVE SCULPTURE 323 Modeling,Carving,Casting,andConstructing 323 FromMonolithtoOpenForm 335 Constructivism 3'+0 SculpturalAssemblage 351 Niches,Boxes,andGrottoes 360 BeyondConstructivism:PrimaryStructures 366 KineticSculpture 368 SculpaireandtheCrafts 374 Conclusion 377 CHAPTERTHIRTEEN ARCHITECTURE 380 TheClassicMaterials 380 ModernMaterials 390 TheStrucairal Devices 398 ConstructorsandSculptors 420 1 CHAPTERFOURTEEN PHOTOGRAPHY 429 PhotographyandReality 430 PhotographyandPainting 431 TheAmateuruithaCamera 433 InstantaneousSeeing 437 Photojournalism 438 PrincipleoftheFrame 441 PhotographyandAbstraction 442 TliePhotographicSlide 444 TliePhotographerasArtist 445 PhotographicCriticism 44? CHAPTERFIFTEEN IMAGES INMOTION: FILMANDTELEVISION 455 TheManipulationofSpace-Time 456 FilmandTVTypes 460 FilmedVersusTelevisedImagery 46l FilmsandDreams 462 TheDemocracyofFilm 463 TheCriticali^preciationofCinema 464 Conclusion 466 PART FIVE THE PROBLEMS OF ART CRITICISM CHAPTERSIXTEEN THETHEORYOFARTCRITICISM 469 TheToolsofArtCriticism 47 TypesofArtCriticism 473 KindsofCriticalJudgment 476 Conclusion 486 CHAPTERSEVENTEEN THE CRITICALPERFORMANCE 487 Description 487 FormdAnalysis 490 Interpretation 494 Judgment 503 Conclusion 510 Glossary 511 Time-Lines 516 SelectedBibliography 524 Index 528 PhotoCredits 541

Description:
Library of Congress Cataloguing-in-Publication Data Feldman, Edmund Burke. Varieties of visual experience / Edmund Burke Feldman. 4th ed, p. cm. Includes bifiliographical references and index. ISBN 0-13-953449-0 (pbk.) 1. Art—Psychology. 2, Composition (Art) 3. Visual perception. I. Title. N71.F42
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