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Cézanne
Study of the famous impressionist's landscape paintings.
Stationes vrbis Rome
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Pavel Machotka
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The Cambridge Handbook of the Psychology of Aesthetics and the Arts
The psychology of aesthetics and the arts is dedicated to the study of our experiences of the visual arts, music, literature, film, performances, architecture and design; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world. The Cambridge Handbook of the Psychology of Aesthetics and the Arts is a foundational volume presenting an overview of the key concepts and theories of the discipline where readers can learn about the questions that are being asked and become acquainted with the perspectives and methodologies used to address them. The psychology of aesthetics and the arts is one of the oldest areas of psychology but it is also one of the fastest growing and most exciting areas. This is a comprehensive and authoritative handbook featuring essays from some of the most respected scholars in the field.
Emerging Visions of the Aesthetic Process
Emerging Visions of the Aesthetic Process explores the processes underlying aesthetics and play from the perspectives of psychologists, philosophers, and semiologists. It reveals the different ways in which scholars think about the following questions: (1) What is the origin of the creative process? (2) How do biological, social, and cognitive processes shape the activities of artists and the responses of viewers? (3) How does literary activity draw on our experiences of everyday life and how is it tied to other kinds of media? (4) How does play affect the process of growth from childhood to adulthood? The contributors consider artistic, literary, and play activity from its most biological roots through individual cognitive and emotional processing to its expression at the social level. Emerging Visions of the Aesthetic Process offers a stimulating basis for the discussion of aesthetic processes and will serve as an integrative, comprehensive treatise on the topic for researchers and students.
Messages of the Body
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Cézanne's Composition
Praise for the first edition: "I have learned a great deal from his book about modern painting in general. [Loran] devotes his attention mainly to Cezanne's concrete means and methods, and he arrives thereby at an understanding of Cezanne's art more essential than any other I have seen in print."--Clement Greenberg, Nation
Painting and Our Inner World
That painting is at least in part an expression of the painter's personality is obvious from the differences between very impulsive and very controlled painters - between the paintings of a Picasso, for example, and a Piet Mondriaan. But these differences have not been looked at in a controlled setting. In this book, Machotka sets out to understand the images produced by a broad sample of students and to connect them to the students' inner lives - to their interpersonal relations, their wishes and fears, their impulses and inhibitions. Their image making was followed in detail and their personality was studied in a long clinical interview, producing a rich, individual picture of the style an...
Umbria Outside My Window
This is the true story of a couple who left California, retired from their work in Silicon Valley and the University of California, and moved to a small, isolated valley where time seemed to stand still. They bought and reconstructed a ruined farmhouse in the Italian countryside, but rebuilding the farmhouse is just one part of their adventure. The real story is about the lure of Italy-the food and wine, the seasons and storms, the history, culture, and art, the festivals and traditions, the land and its field stones and above all, the people.In addition to recounting the finding and reconstru.
Cézanne and Paris
"A native of Aix-en-Provence by birth, Paul Cézanne (1839-1906) went to Paris for the first time in 1861, at the insistence of his childhood friend Émile Zola. Cézanne decided to become a painter, against his family's advice, determined to make his mark on the Parisian scene that was then intrinsic to any successful artistic career. Paradoxically, Cézanne did not use Paris as a theme for his paintings: he did not represent its streets, its monuments, life in the area, or the great urban transformations taking place, unlike many of his contemporaries, including Caillebotte, Guillaumin, and Pissarro. So was the painter indifferent to this city? Throughout his life, he would make over twent...
