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The Power of the Center: A Study of Composition in the Visual Arts, by Rudolf Arnheim
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Rudolf Arnheim has been known, since the publication of his groundbreaking Art and Visual Perception in 1974, as an authority on the psychological interpretation of the visual arts. Two anniversary volumes celebrate the landmark anniversaries of his works in 2009. In The Power of the Center, Arnheim uses a wealth of examples to consider the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture. The Dynamics of Architectural Form explores the unexpected perceptual consequences of architecture with Arnheim's customary clarity and precision.
- Sales Rank: #875948 in Books
- Published on: 2009-10-19
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .60" w x 6.00" l, .75 pounds
- Binding: Paperback
- 250 pages
About the Author
Rudolf Arnheim (1904-2007) was Professor Emeritus of the Psychology of Art at Harvard University and the author of many books, including Film as Art and Visual Thinking.
Most helpful customer reviews
61 of 62 people found the following review helpful.
The Power of the Center: A Study of Composition in the visua
By passtime seeker
This book offers an in-depth analysis of the visual dynamics in a piece of art according to the sizes, positions, orientations and the balancing centers of its components. Paintings, sculptures and architectures are the subjects of discussions in the book. In addition to the balance between the components of a piece of art, the shape of a picture frame, the environment, the perspective prescribed by the artist and the viewer all play an important role in the interpretation of a piece art. The author takes an step-by-step approach to explain how the understanding of the roles of all these elements would help us to appreciate a piece of art. Many examples, modern and classical, are provided to demonstrate his points. I find his approach to understanding a piece of art interesting and revealing. This is one of the best books I ever read about arts. I think this book would benefit aspiring artists and art enthusiasts alike. I would hane given it five stars instead of four and a half if the pictures in the book were in color.
26 of 27 people found the following review helpful.
Yes!
By tamerbey
I've been looking for a book like this for years! As a photographer, I know what I like but I can't always say why I (or others) like it--in other words, what makes a "good" image. Arnheim helps by examining with extraordinary sensitivity the psychology and even physiology of visual perception.
Yes, it's complicated, and if you are not on the same wavelength as the author it may seem obtuse (perhaps even willfully so). But if your thinking is congruent with his, if you have been puzzling over how people examine images, how their eyes move about an image and absorb and appreciate it, then Arnheim's analysis is nothing short of brilliant and revelatory. I find myself saying "Yes! Yes! Yes!" as I read.
There is more here than I need--much more. I don't feel that I need to master everything he writes in order to fulfill my need to understand visual perception so as to improve my photography. But I celebrate the day I discovered this book, and I congratulate the author on such a perceptive, clearly--even engagingly--written work.
4 of 4 people found the following review helpful.
One Working-Artists' Essential Read
By Visual Medicine
Professor Rudolph Arnheim passed-on in 2007-- too-early. His words have long been on my very short shelf of those convincing writers on the Experience of art, and is at the zenith of those few who can actually teach Learning To See (at distance).
This title concentrates on elements that, while eventually intuited by working artists, are here spelled-out so clearly that I caught myself sighing-and-startling several times. Could I be more emphatic, short of drooling?
It begs to be written-into, including lines onto the (simple) diagrams, so I am today purchasing a clean copy for my daughter (who accepted my pushing it into her hands only a month ago). I had passed it along too-soon.
Professor Arnheim has, in this one among many fine volumes, produced one of the finest books of the past century for art AND artists. Rare, indeed, given that it is never pompous and contains not a single color picture. Nearly impossible to cram more experience into such a small work; AND to discover that simple words can still provoke new meaning in my daily decisions in making images. His writing style is that of the helpful, kind (insider) friend to (the novice as well as the elite). He is to the point, softly-- minus the terse collegial congratulations often evident in academic art writings.
I am grateful for his contributions to my education and Life of the Mind. Had we ever met, I would have shook his hand too hard; new thoughts from his pen will be missed.
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