Access the full text.
Sign up today, get DeepDyve free for 14 days.
Tilke Judd, F. Durand, A. Torralba (2010)
Fixations on low-resolution images.Journal of vision, 11 4
C. Redies (2007)
A universal model of esthetic perception based on the sensory coding of natural stimuli.Spatial vision, 21 1-2
V Burgin, V Burgin (1982)
“Looking at photographs”Thinking Photography
S. Palmer (1991)
Goodness, Gestalt, groups, and Garner: Local symmetry subgroups as a theory of figural goodness.
Fractal dimensionality and preference for synthetic random dot patterns
L. Roth, L. Lundström, A. Kelber, R. Kröger, P. Unsbo (2009)
The pupils and optical systems of gecko eyes.Journal of vision, 9 3
U. Yadin (1972)
The New VersionIsrael Law Review, 7
Ian Verstegen (2007)
Rudolf Arnheim's contribution to Gestalt psychology.Psychology of Aesthetics, Creativity, and the Arts, 1
D. Pelli (1997)
The VideoToolbox software for visual psychophysics: transforming numbers into movies.Spatial vision, 10 4
Deborah Aks, J. Sprott (1996)
Quantifying Aesthetic Preference for Chaotic PatternsEmpirical Studies of the Arts, 14
S. Gershoni, S. Hochstein (2011)
Measuring pictorial balance perception at first glance using Japanese calligraphyi-Perception, 2
R. Arnheim (1955)
Art and visual perception: A psychology of the creative eye, New version
M. Koch, Joachim Denzler, C. Redies (2010)
1/f2 Characteristics and Isotropy in the Fourier Power Spectra of Visual Art, Cartoons, Comics, Mangas, and Different Categories of PhotographsPLoS ONE, 5
(2006)
Scrap Book: Photographs 1932–1946
P. Locher, S. Gray, C. Nodine (1996)
The Structural Framework of Pictorial BalancePerception, 25
Constance Jasper (1933)
The sensitivity of children of pre-school age to rhythm in graphic form.The Psychological Monographs, 45
R. Behrens (2017)
Art, Design and Gestalt TheoryLeonardo, 31
Richard Taylor, A. Micolich, D. Jonas (1999)
Fractal analysis of Pollock's drip paintingsNature, 399
C. Redies, Jens Hasenstein, Joachim Denzler (2007)
Fractal-like image statistics in visual art: similarity to natural scenes.Spatial vision, 21 1-2
R. Arnheim (1971)
Entropy and Art: An Essay on Disorder and Order
P. Locher, P. Stappers, C. Overbeeke (1998)
The role of balance as an organizing design principle underlying adults' compositional strategies for creating visual displaysActa Psychologica, 99
Christopher McManus, Fanzhi Zhouô, Sophie l'Anson, Lucy Waterfield, Richard Cook (2011)
The Psychometrics of Photographic Cropping: The Influence of Colour, Meaning, and ExpertisePerception, 40
(2003)
Diane Arbus: Family Albums (New Haven, CT: Yale
P. Locher, Els Cornelis, J. Wagemans, P. Stappers (2001)
Artists' Use of Compositional Balance for Creating Visual DisplaysEmpirical Studies of the Arts, 19
(2011)
American Psychological Assocation)
I. McManus, Catherine Kitson (1995)
Compositional Geometry in PicturesEmpirical Studies of the Arts, 13
R Behrens (2002)
“How form functions: On esthetics and gestalt theory”Gestalt Theory, 24
D. Ross
Design as a Science, 36
(1937)
Denman Walso Ross (1853–1935)
W Ellis (1938)
10.1037/11496-000A Source Book of Gestalt Psychology
P. Tseng, R. Carmi, I. Cameron, D. Munoz, L. Itti (2009)
Quantifying center bias of observers in free viewing of dynamic natural scenes.Journal of vision, 9 7
M. Grundland, N. Dodgson (2007)
Decolorize: Fast, contrast enhancing, color to grayscale conversionPattern Recognit., 40
R. Arnheim (1983)
The power of the center : a study of composition in the visual arts, 24
(2004)
Theories of Visual Perception (3rd edition) London: Psychology
Mia Johnson (1995)
The Elements and Principles of Design: Written in Finger Jello?., 48
(2003)
Arbus: Family Albums
(2007)
stimuli” Spatial Vision
S. Vogt, S. Magnussen (2007)
Expertise in Pictorial Perception: Eye-Movement Patterns and Visual Memory in Artists and LaymenPerception, 36
R. Arnheim (1967)
Art and Visual Perception, a Psychology of the Creative Eye
A. Ulam (2006)
Design with ScienceLandscape Architecture, 96
G. Fechner, H. Höge (1997)
Various Attempts to Establish a Basic Form of Beauty: Experimental Aesthetics, Golden Section, and SquareEmpirical Studies of the Arts, 15
W. Jacobson (1933)
An experimental investigation of the basic aesthetic factors in costume design.The Psychological Monographs, 45
J. McCRACKEN (2008)
Looking at PhotographsNew Zealand Journal of Geography, 92
Katherine Jones-Smith, H. Mathur (2006)
Fractal Analysis: Revisiting Pollock's drip paintingsNature, 444
Martin Čadík (2008)
Perceptual Evaluation of Color‐to‐Grayscale Image ConversionsComputer Graphics Forum, 27
(1934)
A Manual on Sketching Sea
M. Wertheimer (2017)
Untersuchungen zur Lehre von der GestaltPsychologische Forschung, 1
A. Torralba, A. Oliva, M. Castelhano, J. Henderson (2006)
Contextual guidance of eye movements and attention in real-world scenes: the role of global features in object search.Psychological review, 113 4
M. Wertheimer
Untersuchungen zur Lehre von der Gestalt. IIPsychologische Forschung, 4
Ashley Wilson, A. Chatterjee (2005)
The Assessment of Preference for Balance: Introducing a New TestEmpirical Studies of the Arts, 23
S. Palmer, Stefano Guidi (2011)
Mapping the Perceptual Structure of Rectangles through Goodness-of-Fit RatingsPerception, 40
P. Daniels (1933)
Discrimination of compositional balance at the pre-school level.The Psychological Monographs, 45
(1966)
Introduction to 'Creative Painting and Drawing
A. Harrington (1997)
Gestalt psychology in German culture, 1890–1967: Holism and the quest for objectivityJournal of The History of The Behavioral Sciences, 33
D. Brainard (1997)
The Psychophysics Toolbox.Spatial vision, 10 4
I. McManus, D. Edmondson, J. Rodger (1985)
Balance in picturesBritish Journal of Psychology, 76
(1907)
A Theory of Pure Design: Harmony, Balance, Rhythm
M. Wertheimer (1939)
A source book of Gestalt psychology.Journal of Nervous and Mental Disease
Daniel Graham, C. Redies (2010)
Statistical regularities in art: Relations with visual coding and perceptionVision Research, 50
L. Itti, C. Koch (2000)
A saliency-based search mechanism for overt and covert shifts of visual attentionVision Research, 40
R. Voss, J. Clarke (1975)
‘1/fnoise’ in music and speechNature, 258
S. Poggenpohl (2012)
Laws of SeeingVisible Language, 46
G. Cupchik (2007)
A critical reflection on Arnheim's Gestalt theory of aesthetics.Psychology of Aesthetics, Creativity, and the Arts, 1
Michael Freeman (2007)
The Photographer's Eye: Composition and Design for Better Digital Photos
In Art and Visual Perception, Rudolf Arnheim, following on from Denman Ross's A Theory of Pure Design, proposed a Gestalt theory of visual composition. The current paper assesses a physicalist interpretation of Arnheim's theory, calculating an image's centre of mass (CoM). Three types of data are used: a large, representative collection of art photographs of recognised quality; croppings by experts and non-experts of photographs; and Ross and Arnheim's procedure of placing a frame around objects such as Arnheim's two black disks. Compared with control images, the CoM of art photographs was closer to an axis (horizontal, vertical, or diagonal), as was the case for photographic croppings. However, stronger, within-image, paired comparison studies, comparing art photographs with the CoM moved on or off an axis (the “gamma-ramp study”), or comparing adjacent croppings on or off an axis (the “spider-web study”), showed no support for the Arnheim-Ross theory. Finally, studies moving a frame around two disks, of different size, greyness, or background, did not support Arnheim's Gestalt theory. Although the detailed results did not support the Arnheim-Ross theory, several significant results were found which clearly require explanation by any adequate theory of the aesthetics of visual composition.
i-Perception – SAGE
Published: Jan 1, 2011
Keywords: aesthetics,photography,Gestalt theory,balance,composition
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.