Book
The art of seeing
Record details
- ISBN: 9780205748341 (pbk.)
- ISBN: 0205748341 (pbk.)
-
Physical Description:
print
560 p. : ill. (chiefly col.) ; 28 cm. - Edition: 8th ed.
- Publisher: Upper Saddle River, NJ : Prentice Hall, c2011.
Content descriptions
| Bibliography, etc. Note: | Includes bibliographical references (p. 532-534) and index. |
Search for related items by subject
| Subject: | Visual perception Art appreciation |
Available copies
- 1 of 1 copy available at Kirtland Community College.
Holds
- 0 current holds with 1 total copy.
Show Only Available Copies
| Location | Call Number / Copy Notes | Barcode | Shelving Location | Status | Due Date |
|---|---|---|---|---|---|
| Kirtland Community College Library | N 7430.5 .Z36 2011 | 30540269 | General Collection | Available | - |
Table of Contents
The Art of Seeing
| Section | Section Description | Page Number |
|---|---|---|
| Part 1 | Learning to See | p. 11 |
| 1 | Understanding Art | p. 12 |
| What Is Art? | p. 13 | |
| The Creative Impulse | p. 13 | |
| Artists on Art: Joseph Raffael on Creativity | p. 15 | |
| Types of Art | p. 16 | |
| Two- and Three-Dimensional Art | p. 16 | |
| Representational and Nonrepresentational Art | p. 17 | |
| Fine and Applied Arts | p. 21 | |
| Artists on Art: Georgia O'Keeffe on Abstraction | p. 22 | |
| Public and Private Art | p. 26 | |
| Art Issues: Censorship of Offensive Art | p. 30 | |
| Content | p. 32 | |
| Sociopolitical Content | p. 33 | |
| Power and Propaganda | p. 35 | |
| Spiritual Purposes | p. 38 | |
| Inner Experiences | p. 42 | |
| Beauty | p. 45 | |
| Critical Opinion | p. 46 | |
| Art Issues: Race and Gender Criticism | p. 50 | |
| Lasting Greatness In Art | p. 53 | |
| 2 | Visual Elements | p. 56 |
| Line | p. 57 | |
| Seeing Line | p. 57 | |
| The World Seen: Islamic Calligraphy | p. 60 | |
| Implied Line | p. 63 | |
| Descriptive Line | p. 66 | |
| Expressive Qualities of Line | p. 68 | |
| Directional Line | p. 69 | |
| Shape and Form | p. 69 | |
| Degrees of Three-Dimensionality | p. 69 | |
| Characteristics of Three-Dimensional Form | p. 75 | |
| Artists on Art: Henry Moore on Form and Space | p. 80 | |
| Two-Dimensional Illusion of Form | p. 82 | |
| Shapes | p. 84 | |
| Artists on Art: Arshile Gorky on Elements Conveying Life's Intensity | p. 87 | |
| Space | p. 91 | |
| Three-Dimensional Art in Space | p. 91 | |
| Two-Dimensional Space | p. 94 | |
| Scale | p. 105 | |
| Spatial Illusion | p. 108 | |
| Texture | p. 110 | |
| Actual Texture | p. 112 | |
| Simulated Texture | p. 113 | |
| Value and Light | p. 116 | |
| Local and Interpretive Values | p. 117 | |
| Lighting | p. 120 | |
| Reflections | p. 124 | |
| Artists on Art: Leonardo da Vinci on Chiaroscuro | p. 126 | |
| Light as a Medium | p. 128 | |
| Color | p. 132 | |
| A Vocabulary of Color | p. 132 | |
| Natural and Applied Color | p. 136 | |
| Local, Atmospheric, and Interpretive Color | p. 139 | |
| Emotional Effects of Color | p. 140 | |
| Warm and Cool Colors | p. 143 | |
| Advancing and Receding Colors | p. 145 | |
| Color Combinations | p. 146 | |
| Interaction of Color | p. 149 | |
| Limited and Open Palette | p. 152 | |
| Artists on Art: Josef Albers on Seeing Colors | p. 153 | |
| Time | p. 156 | |
| Actual Movement | p. 156 | |
| Illusion of Movement | p. 159 | |
| The Captured Moment | p. 159 | |
| Change Through Time | p. 159 | |
| Artists on Art: Auguste Rodin on the Illusion of Movement | p. 160 | |
| 3 | Organizing Principles of Design | p. 164 |
| Repetition | p. 165 | |
| Variety | p. 169 | |
| Rhythm | p. 175 | |
| Balance | p. 177 | |
| Compositional Unity | p. 180 | |
| Emphasis | p. 185 | |
| Economy | p. 187 | |
| Proportion | p. 189 | |
| Relationship to the Environment | p. 191 | |
| Artists on Art: Wassily Kandinsky on Underlying Harmony | p. 194 | |
| Part 2 | Two-Dimensional Media and Methods | p. 197 |
| 4 | Drawing | p. 198 |
| Approaches to Drawing | p. 198 | |
| Dry Media | p. 201 | |
| Graphite Pencil | p. 201 | |
| Silverpoint | p. 202 | |
| Charcoal | p. 203 | |
| Chalk | p. 204 | |
| Pastel | p. 207 | |
| Crayon | p. 209 | |
| Liquid Media | p. 210 | |
| Pen and Ink | p. 210 | |
| The World Seen: Chinese Landscape Paintings | p. 211 | |
| Brush and Ink | p. 213 | |
| 5 | Painting | p. 214 |
| Approaches to Painting | p. 215 | |
| Paint Media | p. 218 | |
| Encaustic | p. 218 | |
| Fresco | p. 219 | |
| Tempera | p. 223 | |
| Oil | p. 224 | |
| Art Issues: Cleaning and Restoring Paintings | p. 226 | |
| Watercolor | p. 231 | |
| Gouache | p. 232 | |
| The World Seen: Tibetan Sand Paintings | p. 234 | |
| Synthetics | p. 236 | |
| Collage | p. 239 | |
| Mosaic | p. 240 | |
| Mixed Media | p. 243 | |
| 6 | Printmaking | p. 244 |
| Approaches to Printmaking | p. 246 | |
| Printmaking Processes | p. 247 | |
| Relief | p. 247 | |
| Artists on Art: Stephen Alcorn on the Art of the Color Linocut | p. 250 | |
| Intaglio | p. 252 | |
| Planographic: Lithography | p. 259 | |
| Stencil | p. 262 | |
| Photocopy and Fax Art | p. 262 | |
| Mixed Print Media | p. 264 | |
| 7 | Graphic Design | p. 267 |
| The Graphic Designer and Visual Ideas | p. 268 | |
| Artists on Art: Peter Good on the Art of Graphic Design | p. 270 | |
| Typography | p. 272 | |
| Illustration | p. 274 | |
| 8 | Photography and | |
| Filmmaking | p. 278 | |
| Photography | p. 279 | |
| Artists on Art: Edward Weston on Photography as a Way of Seeing | p. 289 | |
| Digital Photography | p. 291 | |
| Creative Use of Digital Imaging | p. 293 | |
| Film | p. 295 | |
| Art Issues: Mixing Art and Politics: the Films of Leni Riefenstahl | p. 302 | |
| Television and Video | p. 304 | |
| 9 | Digital Art | p. 308 |
| The Computer As A Drawing Medium | p. 309 | |
| The Computer As A Painting Medium | p. 310 | |
| Artists on Art: Janet Cummings Good Compares Computer to Other Media | p. 312 | |
| Digital Art In Cyberspace | p. 314 | |
| Computers In Three-Dimensional Art | p. 315 | |
| Digital Video | p. 315 | |
| Art Issues: Art Websites | p. 316 | |
| Virtual Reality | p. 320 | |
| The Computer As A Unique Art Medium | p. 321 | |
| Interactive Digital Art | p. 322 | |
| Part 3 | Three-Dimensional Media and Methods | p. 325 |
| 10 | Sculpture | p. 326 |
| Planning Sculptures | p. 327 | |
| Carving | p. 329 | |
| Artists on Art: Michelangelo Buonarroti on Marble-Quarrying | p. 331 | |
| The World Seen: Benin Ivory Carvings | p. 332 | |
| Modeling | p. 335 | |
| Casting | p. 337 | |
| Artists on Art: Benvenuto Cellini on A Near-Disastrous Casting | p. 339 | |
| Assembling | p. 340 | |
| Earthworks | p. 342 | |
| Art Issues: Preserving Ephemeral Materials | p. 344 | |
| Installations, Performances, and Multimedia | p. 348 | |
| 11 | Craft Media | p. 350 |
| Clay | p. 352 | |
| The World Seen: Chinese Porcelains | p. 355 | |
| Artists on Art: Paula Winokur on Working in Clay | p. 356 | |
| Metal | p. 358 | |
| The World Seen: Precious Metalwork from Tsarist Russia | p. 359 | |
| Wood | p. 360 | |
| Artists on Art: George Nakashima on A Feeling for Wood | p. 362 | |
| Glass | p. 364 | |
| Fibers | p. 369 | |
| The World Seen: Persian Carpets | p. 371 | |
| 12 | Product and Clothing Design | p. 374 |
| Industrial Design | p. 375 | |
| Clothing Design | p. 379 | |
| The World Seen: Saris of India | p. 384 | |
| 13 | Architecture | p. 386 |
| Architects' Unique Concerns | p. 387 | |
| Function | p. 389 | |
| Structure | p. 394 | |
| The World Seen: Moorish Arches and Domes | p. 401 | |
| Socially Responsible Architecture | p. 408 | |
| 14 | Designed Settings | p. 410 |
| Interior Design | p. 411 | |
| Environmental Design | p. 414 | |
| The World Seen: Japanese Stone Gardens | p. 418 | |
| Aesthetics In the Performing Arts | p. 420 | |
| Part 4 | Art in Time | p. 427 |
| 15 | Historical Styles in Western Art | p. 428 |
| Art Movements | p. 429 | |
| The Beginnings of Western Art | p. 429 | |
| Prehistoric | p. 429 | |
| Aegean | p. 435 | |
| Mesopotamian | p. 435 | |
| Art Issues: Looting of Art Treasures | p. 436 | |
| Egyptian | p. 439 | |
| Art of Ancient Cultures | p. 440 | |
| Greek | p. 440 | |
| Roman | p. 442 | |
| Early Christian and Byzantine | p. 442 | |
| Medieval Art | p. 444 | |
| Early Medieval | p. 444 | |
| Romanesque | p. 448 | |
| Gothic | p. 448 | |
| Late Gothic | p. 450 | |
| Renaissance Art | p. 450 | |
| Early Renaissance in Italy | p. 451 | |
| Art Issues: the Camera Obscura: A Trade Secret? | p. 452 | |
| High Renaissance in Italy | p. 454 | |
| Northern Renaissance | p. 458 | |
| Art Issues: Protecting Famous Artworks | p. 460 | |
| Mannerism | p. 463 | |
| Baroque Art | p. 464 | |
| Southern Baroque | p. 464 | |
| Northern Baroque | p. 468 | |
| Rococo | p. 468 | |
| Eighteenth- and Early Nineteenth Century Art | p. 468 | |
| Neoclassicism | p. 469 | |
| Romanticism | p. 471 | |
| Later Nineteenth-Century Art | p. 472 | |
| Realism | p. 472 | |
| Impressionism | p. 475 | |
| Post-Impressionism | p. 475 | |
| Artists on Art: Paul Gauguin on Cross-Cultural Borrowings | p. 476 | |
| Twentieth-Century Art | p. 479 | |
| Expressionism | p. 481 | |
| Fauvism | p. 481 | |
| Cubism | p. 483 | |
| Futurism | p. 483 | |
| Abstract and Nonobjective Art | p. 483 | |
| Dada | p. 484 | |
| Surrealism | p. 486 | |
| Traditional Realism | p. 486 | |
| Abstract Expressionism | p. 486 | |
| Post-Painterly Abstraction | p. 487 | |
| Pop Art | p. 490 | |
| Minimalism | p. 490 | |
| Technological Art | p. 491 | |
| Conceptual Art | p. 492 | |
| Earthworks | p. 493 | |
| Performance Art | p. 494 | |
| Installations | p. 494 | |
| New Realism | p. 496 | |
| The Craft Object | p. 496 | |
| Neoexpressionism | p. 499 | |
| Post-modernism | p. 501 | |
| Widening of the Mainstream | p. 503 | |
| Artists on Art: Deborah Muirhead on Art as Ancestral Exploration | p. 504 | |
| Art Issues: Art as Investment | p. 508 | |
| 16 | Understanding Art on All Levels | p. 512 |
| Picasso's Guernica | p. 513 | |
| The Temples of Angkor | p. 518 | |
| Michelangelo's Sistine Chapel Ceiling | p. 522 | |
| Frank Gehry's Guggenheim Museum In Bilbao | p. 528 |
Descriptive content provided by Syndetics™, a ProQuest® service.
Click here for Terms of Use.
Click here for Terms of Use.
