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Interpreting Visual Art
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Table of Contents

Part A. Linking Psychology to Art and Beauty. 1. Bridges Connecting Art to Science to Art. 2. Aesthetics: Pleasure in Art. 3. Emotions and Aesthetics. Part B. Survey of Perception Psychology Relevant to Art. 4. Perceiving Art Is Accomplished in Steps, Customized for Efficient Perception. 5. Reflecting on Light, Mirrors, and Meaning. 6. Color through the Ages and the Eyes. Part C. Human Enhancements to Vision and Art. 7. Illusion, Motion Perception, and Depth. 8. Seeing Scenes and Identifying Things in Art. Part D. Cognitive Processes in Art. 9. Interpreting Visual Art: Systematic but Individualized. 10. Faces: Revealing the Person. 11. Creativity, Imagination, Perception, and Art. 12. Do Artists Have Special Insights?

About the Author

Catherine Weir, Professor of Psychology Emeritus from Colorado College, taught Perception courses at this liberal arts college and at University College London for 39 years. Evans Mandes has taught in the psychology and studio arts programs at George Mason University for 47years. He recently retired from there as an Emeritus Professor of Psychology and Interdisciplinary Arts.

Reviews

-Pleasure and interest are two of the defining features of the arts. For those wanting to know what scientists have been thinking about how the visual arts work, this unusual, well researched and beautifully written book should result in both interest and pleasure.- Chris McManus, University College London -This exciting book is a much needed contribution to the emerging interdisciplinary understanding of how we interact with art. Sharing the empirical findings of psychological science in an easy-to-digest, well written style, Weir and Mandes take the reader on a fascinating journey through the various mind and brain based processes with which we encounter visual material like drawings and paintings. The authors use of a great variety of works of well and lesser known art to illustrate these principles, providing readers with an excellent -how to- guide for the next time they are in a museum or gallery. This volume will be most enlightening to any students or aficionados of art, art history, and psychology. And that includes most of us!- Tomi-Ann Roberts, Colorado College "Pleasure and interest are two of the defining features of the arts. For those wanting to know what scientists have been thinking about how the visual arts work, this unusual, well researched and beautifully written book should result in both interest and pleasure." Chris McManus, University College London "This exciting book is a much needed contribution to the emerging interdisciplinary understanding of how we interact with art. Sharing the empirical findings of psychological science in an easy-to-digest, well written style, Weir and Mandes take the reader on a fascinating journey through the various mind and brain based processes with which we encounter visual material like drawings and paintings. The authors use of a great variety of works of well and lesser known art to illustrate these principles, providing readers with an excellent "how to" guide for the next time they are in a museum or gallery. This volume will be most enlightening to any students or aficionados of art, art history, and psychology. And that includes most of us!" Tomi-Ann Roberts, Colorado College "Pleasure and interest are two of the defining features of the arts. For those wanting to know what scientists have been thinking about how the visual arts work, this unusual, well researched and beautifully written book should result in both interest and pleasure." Chris McManus, University College London "This exciting book is a much needed contribution to the emerging interdisciplinary understanding of how we interact with art. Sharing the empirical findings of psychological science in an easy-to-digest, well written style, Weir and Mandes take the reader on a fascinating journey through the various mind and brain based processes with which we encounter visual material like drawings and paintings. The authors use of a great variety of works of well and lesser known art to illustrate these principles, providing readers with an excellent "how to" guide for the next time they are in a museum or gallery. This volume will be most enlightening to any students or aficionados of art, art history, and psychology. And that includes most of us!" Tomi-Ann Roberts, Colorado College

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