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Cognitive Iconology is a new theory of the relation of psychology to art. Instead of being an application of psychological principles, it is a methodologically aware account of psychology, art and the nature of explanation. Rather than fight over biology or culture, it shows how they must fit together. The term “cognitive iconology” is meant to mirror other disciplines like cognitive poetics and musicology but the fear that images must be somehow transparent to understanding is calmed by the stratified approach to explanation that is outlined. In the book, cognitive iconology is a theory of cognitive tendencies that contribute to but are not determinative of an artistic meaning. At the center of the book are three case studies: images depicted within images, basic corrections to architectural renderings in images, and murals and paintings seen from the side. In all cases, there is a primitive perceptual pull that contribute to but do not override larger cultural meaning. The book then moves beyond the confines of the image to behavior around the image, and then ends with the concluding question of why some images are harder to understand than others. Cognitive Iconology promises to be important because it moves beyond the turf battles typically fought in image studies. It argues for a sustainable practice of interpretation that can live with other disciplines.

Arts --- Psychology and art --- Art and psychology --- Art --- Psychological aspects.

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This book is an account of the theory and practice of practitioners of the so-called 'second' or 'younger' Viennese school associated with Hans Sedlmayr and Otto Pächt and their short-lived journal, 'Kunstwissenschaftliche Forschungen'. It demonstrates the strong dependence of these writers on the work of Gestalt psychology which was emerging at the time. Gestalt theory emerges as the master key to interpreting Sedlmayr and Pächt's ideas about art and history and how it affected their practices.This fresh interpretive apparatus casts light on the power and originality of Sedlmayr's and Pächt's theoretical and empirical writings, revealing a practice-based approach to history that is more attuned to the visuality of art. Verstegen demonstrates the existence of a genealogy of Vienna formalism coursing throughout most of the twentieth-century, encompassing Johannes Wilde and his students at the Courtauld as well as Otto Demus in Byzantine studies. By bringing Gestalt theory to the surface, he dispels misunderstandings about the Vienna School theory and attains a deeper understanding of the promise that a Gestalt analytic holism - a non-intuitionist account of the relational logic of sense - is offered.

Art --- Psychology and art. --- ART / Criticism. --- Art and psychology --- Historiography. --- Pächt, Otto, --- Sedlmayr, Hans, --- Zedlʹmaĭr, Khans, --- Art historians --- Art and society --- Political aspects --- History --- Austria --- Politics and government

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A vivid portrait of two remarkable twentieth-century thinkers and their landmark collaboration on the use and abuse of caricature and propaganda in the modern world In 1934, Viennese art historian and psychoanalyst Ernst Kris invited his mentee E. H. Gombrich to collaborate on a project that had implications for psychology and neuroscience, and foreshadowed their contributions to the Allied war effort. Their subject: caricature and its use and abuse in propaganda. Their collaboration was a seminal early effort to integrate science, the humanities, and political awareness. In this fascinating biographical and intellectual study, Louis Rose explores the content of Kris and Gombrich's project and its legacy.

Art historians --- Psychology and art. --- Art and psychology --- Art --- Historians --- Kris, Ernst, --- Gombrich, E. H. --- Psychology --- fine arts [discipline] --- psychoanalysis --- caricatures --- art historians --- Gombrich, Ernst H. --- Kris, Ernst --- Austria --- Gombrich, Ernst --- Gombrich, Ernst Hans Josef, --- Kang-pu-li-chʻi, --- Gombrikh, E. H., --- גומבריך, א. ה.

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How does a visual artist manage to narrate a story, which has a sequential and therefore temporal progression, using a static medium consisting solely of spatial sign elements and, what is more, in a single image? This is the question on which this work is based, posed by its designer, Alberto Argenton, to whose memory it is dedicated. The first explanation usually given by scholars in the field is that the artist solves the problem by depicting the same character in a number of scenes, thus giving indirect evidence of events taking place at different times. This book shows that artists, in addition to the repetition of characters, devise other spatial perceptual-representational strategies for organising the episodes that constitute a story and, therefore, showing time. Resorting to the psychology of art of a Gestalt matrix, the book offers ha formattato: Italiano (Italia) Codice campo modificato ha formattato: Italiano (Italia) ha formattato: Italiano (Italia) researchers, graduates, advanced undergraduates, and professionals a description of a large continuous pictorial narrative repertoire (1000 works) and an in-depth analysis of the perceptual-representational strategies employed by artists from the 6th to the 17th century in a group of 100 works narrating the story of Adam and Eve.

Cognitive psychology. --- Psychology. --- Aesthetics. --- Color. --- Vision. --- Art—History. --- Philosophy of mind. --- Cognitive Psychology. --- Behavioral Sciences and Psychology. --- Psychology of Aesthetics. --- Vision and Colour Science. --- Art History. --- Philosophy of Mind. --- Mind, Philosophy of --- Mind, Theory of --- Theory of mind --- Philosophy --- Cognitive science --- Metaphysics --- Philosophical anthropology --- Eyesight --- Seeing --- Sight --- Senses and sensation --- Blindfolds --- Eye --- Physiological optics --- Psychology, Cognitive --- Psychology --- Chromatics --- Colour --- Chemistry --- Light --- Optics --- Colors --- Thermochromism --- Radio broadcasting Aesthetics --- Aesthetics --- Behavioral sciences --- Mental philosophy --- Mind --- Science, Mental --- Human biology --- Soul --- Mental health --- Art Psychology. --- Christian art and symbolism --- Creation in art. --- Psychology and art. --- Psychological aspects. --- Art and psychology --- Art --- Creation --- Creation as a topic in art --- Psicologia de l'art --- Temps en l'art --- Espai (Art)