Art and Expression

Alberto Argenton was Professor of psychology of art in the Faculty of Psychology at University of Padova until 2014 and passed away in 2015. He is recognized as one of the preeminent scholars of the psychology of art in Italy. He authored numerous scientific papers and books, and was also a skilful artist, conducting his pictorial research with the same rigour he adopted for his scientific work (www.albertoargenton.it). Ian Verstegen is the Associate Director of Visual Studies at the University of Pennsylvania, where his current teaching is focused on the image and its special characteristics.

Editor’s Introduction

Ian Verstegen

Introduction to the Italian Edition

Part One: Expression and the Dynamics of Perception

Chapter 1. Expression and Expressive Qualities

1.1. The study of Expression in Psychology

1.1.1. The Deficiency Disease

1.1.2. The Phenomenological Method

1.1.2.1. Inter-observation

1.2. For a Definition of Expression

1.2.1. Expression and Physiognomic Perception

1.2.2. The Genetic and Phenomenal Primacy of Expressive Qualities

1.2.3. Emotive Determinism

1.2.4. The Lexicon of Expression

1.2.5. The Essential Traits of Expression

1.2.6. Isomorphism and Figurative Thought

References

Chapter 2. The Dynamics of Perception and Expressive Qualities

2.1. The Construct of Dynamics

2.2. Arnheim’s Conception of the Dynamics of Visual Perception

2.2.1. Vectors, Forces, Tensions, and Dynamics of Perception

2.2.1.1. Physical Forces and Perceptual Forces

2.2.2. Dynamics is the Vehicle of Expression

2.2.2.1. An Example Taken from Art

2.3. Dynamics, Expression and Graphic and Pictorial Language

2.3.1. A Comparison of Two Paintings

2.4. The Two ‘Guiding Values’ of Art and Behaviour

2.5. Representational Strategies of the Graphic-Pictorial Medium

References

Part Two: Thematic Studies

Chapter 3. The Swing Effect: A Little-studied Perceptual Phenomenon

3.1. Pictorial Perception and Line Drawing

3.2. Contour Rivalry

3.2.1. The Visual Tug-of-War

3.3. Perceptual Conditions of the Swing Effect

3.3.1. Differences between the Swing Effect and other Cases of Percept Alternation

3.4. The Dynamic Aspects of the Swing Effect

3.5. The Presence of the Swing Effect in Graphic and Pictorial Representation

3.5.1. Trademarks

3.5.2. Symbols

3.5.3. Decoration

3.5.4. Enamels and Painting on Glass

3.5.5. Cubism and Pablo Picasso

3.5.6. A Unique Case: Sano di Pietro

3.6. The Nature and Properties of the Swing Effect

References

Chapter 4. Amodal Completion and Pictorial Representation

4.1. Amodal Completion

4.2. Perceptual Completion

4.3. The Structural Conditions, Laws and Psychological Principles of Completion

4.4. Amodal Completion between Seeing and Thinking

4.5. Amodal Completion, Dynamics and Expression

4.6. "Completion by Frame"

4.7. Amodal Completion and Cognition

References

Chapter 5. The Dynamics of Obliqueness: Windmills and Timepieces

5.1. Obliqueness in Perception and in Pictorial Representation

5.1.1. The Local Use of Obliqueness

5.2. Two Studies on Local Obliqueness

5.3. The Study of the Pictorial Representation of Windmills

5.3.1. Windmills

5.3.2. The Pictorial Genre

5.3.3. Stylistic Characterization

5.3.4. The Premises of the Research

5.3.4.1. Windmill Illusion

5.4. Hypothesis, Aims and Structure of the Research

5.4.1. Research Results

5.4.1.1. The 1400s, 1500s and the Flemish Tradition

5.4.1.2. The 1600s and Dutch Landscape Painting

5.4.1.3. The 1700s

5.4.1.4. The 1800s

5.4.1.5. The Early 1900s: Piet Mondrian

5.5. Research into the Pictorial Representation of Timepieces

5.5.1. Timepiece Advertising

5.6. Hypothesis, Aims and Structure of the Research

5.6.1. Research Results

5.7. Obliqueness and Visual Thinking

References

Indexes

Authors Index

Subject Index