LEADER 04098nam 22007454a 450 001 9910459095503321 005 20200520144314.0 010 $a1-282-90194-X 010 $a9786612901942 010 $a0-226-36554-9 024 7 $a10.7208/9780226365541 035 $a(CKB)2670000000060060 035 $a(EBL)616042 035 $a(OCoLC)690176860 035 $a(SSID)ssj0000471778 035 $a(PQKBManifestationID)11307639 035 $a(PQKBTitleCode)TC0000471778 035 $a(PQKBWorkID)10434136 035 $a(PQKB)10115574 035 $a(SSID)ssj0000440311 035 $a(PQKBManifestationID)12131182 035 $a(PQKBTitleCode)TC0000440311 035 $a(PQKBWorkID)10470806 035 $a(PQKB)11336111 035 $a(MiAaPQ)EBC616042 035 $a(DE-B1597)524167 035 $a(OCoLC)1100568082 035 $a(DE-B1597)9780226365541 035 $a(Au-PeEL)EBL616042 035 $a(CaPaEBR)ebr10431298 035 $a(CaONFJC)MIL290194 035 $a(EXLCZ)992670000000060060 100 $a20051006d2006 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe objective eye$b[electronic resource] $ecolor, form, and reality in the theory of art /$fJohn Hyman 210 $aChicago $cUniversity of Chicago Press$d2006 215 $a1 online resource (315 p.) 300 $aDescription based upon print version of record. 311 $a0-226-36553-0 311 $a0-226-36552-2 320 $aIncludes bibliographical references (p. [269]-275) and index. 327 $tFrontmatter -- $tCONTENTS -- $tILLUSTRATIONS -- $tPREFACE -- $tINTRODUCTION -- $t1. Galileo's Myth -- $t2. Frames of Reference -- $t3. Perceiving Powers -- $t4. Art and Imitation -- $t5. Art and Occlusion -- $t6. Art and Optics -- $t7. Art and Experience -- $t8. Words and Pictures -- $t9. Realism and Relativism -- $t10. The Canvas of the Brain -- $tCONCLUSION -- $tNOTES -- $tBIBLIOGRAPHY -- $tCREDITS -- $tINDEX 330 $a"The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."-Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. John Hyman's The Objective Eye is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? The Objective Eye explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find The Objective Eye challenging and absorbing. 606 $aVisual perception 606 $aComposition (Art) 606 $aColor in art 606 $aArt$xPsychology 608 $aElectronic books. 615 0$aVisual perception. 615 0$aComposition (Art) 615 0$aColor in art. 615 0$aArt$xPsychology. 676 $a701/.15 700 $aHyman$b John$0919301 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910459095503321 996 $aThe objective eye$92061810 997 $aUNINA