scholarly journals Musée imaginaire: Fontanes Gemäldegalerie

2017 ◽  
pp. 109-120
Author(s):  
Hubertus Fischer
Keyword(s):  
Pictorial Perception

This paper tends to explore ,Fontane's picture gallery' referring to its genesis, characteristic and effect. In doing so the art critic Fontane is improving a distinctive image as an expert especially of English art und of the at that time in Germany leading Dusseldorf School of Painting (Düsseldorfer Malerschule). Furthermore it will be set out how the writer Fontane is acting in his work with pictures and pictorial perception. Eventually there is a suggestion for recovering ,Fontane's picture gallery' to make it possible for the contemporary audience to read Fontane's works in a wider and subtly differentiated manner.

Seeing Depicted Space (Or Not)

2018 ◽  
Author(s):  
Mikael Pettersson
Keyword(s):  
Empty Space ◽  
Material Objects ◽  
Pictorial Perception ◽  
The Aesthetic ◽  
Pictorial Experience ◽  
The Way

What is it to see something in a picture? Most accounts of pictorial experience—or, to use Richard Wollheim's term, ‘seeing-in’—seek, in various ways, to explain it in terms of how pictures somehow display the looks of things. However, some ‘things’ that we apparently see in pictures do not display any ‘look’. In particular, most pictures depict empty space, but empty space does not seem to display any ‘look’—at least not in the way material objects do. How do we see it in pictures, if we do? This chapter offers an account of pictorial perception of empty space by elaborating on Wollheim's claim that ‘seeing-in’ is permeable to thought. It ends by pointing to the aesthetic relevance of seeing—or not seeing—empty space in pictures.

Geometric Transformations of Pictured Space

Perception ◽  
1978 ◽  
Vol 7 (3) ◽  
pp. 269-282 ◽  
Author(s):  
James Farber ◽  
Richard R Rosinski
Keyword(s):  
Geometric Analysis ◽  
Space Perception ◽  
Unique Point ◽  
Geometric Transformations ◽  
Pictorial Space ◽  
Pictorial Perception ◽  
Correct Point

In general, a picture can represent a specific environment or scene only when the picture is seen from a unique viewing point. The determination of this unique point and of the distortions that occur when the picture is viewed from other points is crucial to all aspects of pictorial perception. To clarify the effects of the point of observation on pictorial space, the present paper discusses how the correct point may be calculated, provides a geometric analysis of the effects of altering the viewing point, and briefly reviews the effects of such alterations on space perception.

Movements of the Mental Eye in Pictorial Space

2005 ◽  
Author(s):  
Jan J. Koenderink
Keyword(s):  
Physical Space ◽  
Physical Object ◽  
Current Understanding ◽  
Pictorial Space ◽  
Psychophysical Data ◽  
Pictorial Perception ◽  
Mental Object

When an observer is faced with a straight photograph, the observer can either look at the image or look into the photograph. This manner of observing photographs presents a difference that is crucial. In the former case, the observer is aware of the photograph as a physical object in a physical space while in the latter, the observer is aware of the pictorial object in a pictorial space. This chapter focuses on the current understanding of pictorial perception and the structure of pictorial space. Pictorial space is different from physical space in that it does not exist outside of the observer's awareness. It is a thread of consciousness and a purely mental object. In contrast, the photograph as a physical object is a mere planar sheet composed of pigments in a certain simultaneous order. The concepts of pictorial object and scene is not limited to the earlier existence of a physical space that figured casually in the present existence of the photograph. The theory of pictorial space is largely derived from psychophysical data. The measurement of it depends on the idiosyncratic movements of the mental eye. It is purely an ‘intentional entity’ that makes its elusive to physiological methods and susceptible to misconception.

Pictorial Depth Perception of Papua New Guinean Students

1991 ◽  
Vol 4 ◽  
pp. 11-14
Author(s):  
Leo Marai
Keyword(s):  
Sex Differences ◽  
Papua New Guinea ◽  
Depth Perception ◽  
Three Dimensional ◽  
New Guinea ◽  
Major Result ◽  
Culturally Appropriate ◽  
Pictorial Depth ◽  
Pictorial Perception ◽  
Papua New Guinean

Twenty male and five female undergraduates were assessed in a study designed to test for three dimensional pictorial perception in a Papua New Guinea sample. A version of Hudson's (1960) and Deregowski's (1968) test stimuli was used; the stimuli were slightly modified to make them culturally appropriate. The major result of the study was a finding of consistent sex differences in pictorial depth perception. Males tended to perceive three dimensionally while females tended to perceive two dimensionally.

An Analysis of "Polyphasic Pictorial Perception"

1974 ◽  
Vol 5 (3) ◽  
pp. 329-343 ◽  
Author(s):  
Jan B. Deregowski ◽  
Don Munro
Keyword(s):  
Pictorial Perception

Cultural Problems in Pictorial Perception

Nature ◽  
1962 ◽  
Vol 196 (4855) ◽  
pp. 621-622
Keyword(s):  
Pictorial Perception

Role of Two-Dimensional Surface Characteristics in Pictorial Depth Perception

1978 ◽  
Vol 46 (3) ◽  
pp. 875-881 ◽  
Author(s):  
Margaret A. Hagen ◽  
Rochelle Glick ◽  
Barbara Morse
Keyword(s):  
Error Rate ◽  
Flat Surface ◽  
Relative Size ◽  
Surface Characteristics ◽  
Picture Perception ◽  
Essential Difference ◽  
Glass Pane ◽  
Flat Surfaces ◽  
Pictorial Perception ◽  
Clear Glass

The purpose of the present experiment was to test the hypothesis that flat surface information for the plane of projection is the essential difference between ordinary and pictorial perception. Adults were asked to make relative size judgments of pairs of squares and triangles placed and pictured at various distances. The conditions were: real scene controls, life-size slides and prints, and real scenes viewed through clear glass, textured glass, a screen and a 50-mm lens. The error rate was significantly lower with real scenes than with either slides or prints which did not differ. The control data for real scenes were used for comparison to test for the effects of interposed flat surfaces on size judgments of real scenes. Viewing real scenes through either a clear glass pane or a 50-mm lens increased the error rate two and one-half times that of the controls for real scenes. Neither textured glass nor a screen significantly affected error rate. Results were interpreted as supporting the hypothesis that information about a flat surface for the plane of projection is the critical variable determining the special character of picture perception.

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