Design and expression in the visual arts - Taylor, John F.A. (John Francis Adams) (New York, N.Y. Dover Publications, Inc., 1964)
Chapter I. In search of hiw own image -- 1. The nature of a principle -- 2. The production of forms -- 3. The image of man: art and self-knowledge -- Chapter II. The pictorial field -- 4. Of titles and enclosures -- 5. Transforming contrasts and the constancies of the field -- 6. The implication of the spectator -- 7. The shape of the field: regularity and simplicity -- 8. The shape of the field: visual stability -- 9. Cognate axes -- Chapter III. Elements of equilibrium -- 10. Equilibrium -- 11. Axes -- 12. Positive and negative areas -- 13. The vertical axis -- 14. the horizontal axis -- 15. Static equilibrium: symmetry -- 16. Dynamic equilibrium: assymetry -- 17. Assymetry on a a static axis: Perugino's Mystical Cruicifixion -- 18. Directional motives: Mondrain's Compostion in White, Black and Red -- 19. Thrust and counterthrust -- 20. Leonardo da Vinci's Last Supper -- Part IV. Pattern and rhythm -- 21. Liberty under law -- 22. Pattern -- 23. The affinity of forms -- 24. Quality and quantity -- 25. Rhythm -- 26. Percussive and continuous forms -- 27. Frequency, intensity, inversion, ambiguity: El Greco's View of Toledo -- 28. Emergent qualities: Rembrandt's Raising of Lazarus -- 29. Cyclical and intrinsic rhythm -- 30. Objective wholeness -- 31. "The verticality of the Gothic": Amiens Cathedral -- 32. Progression and regression: Bernini's Apollo and Daphne and the processional frieze of the Panthenon -- Theme and variation: Poussin's Amalthea and Seurat's Sunday Afternoon in the Grande-Jatte -- Chapter V. Color -- 34. Physical light and sensed light -- 35. White light and the spectral colors -- 36. The constancies of the field -- 37. Hue, saturation, and value -- Chapter VI. The ordering of silence -- 38. Scale and consonance: Toulouse-Lautrec's at the Moulin rouge -- 39. Complementaries: additive and subtractive effects -- 40. The principle of simultaneous contrast -- 41. Color in equilibrium: Goya's execution of the 3rd of May, 1808 -- 42. Abstraction and representation in the visual arts: Degas' Absintha drinkers -- 43. Values -- 44. The vision of dignity and the dignity of vision: Rembrandt vam Rijn -- Chapter VII. The contemporary encounter -- 45. The image of the mirrorer -- 46. The illusion of primitivism in contemporary art -- 47. The primacy of the mode of encounter -- 48. The new Daedalus.
Includes bibliographical references and index.
Keywords: Art -- Philosophy