Books by Rudolf Arnheim

"In "The Ego and the Id "Freud argued that a cogent thought process, to say nothing of conscious intellectual work, could not exist amidst the unruliness of visual experience. Over the last half century in a sequence of landmark books, Rudolf Arnheim has not only shown us how wrong that is, he has parsed the grammar of form with uncanny acuity and taught us how to read it."--Jonathan Fineburg, author of "Art since 1940: Strategies of Being"

Die Kunst der Bildanalyse ist so alt wie die Kunst selbst. Arnheims Anleitung zum Sehen ist aber immer noch so jung wie bei ihrem ersten Erscheinen 1954. Kaum ein Buch hat Generationen von Lesern so einfach und so grundlich in die Welt der Kunst eingefuhrt. Kaum ein Buch schlug so seine Leser von Anfang an in ihren Bann. Woran liegt dies? Arnheim ist in seinen Schriften ein immer verstandlicher Vermittler. An einfachen Beispielen beleuchtet er behutsam und kritisch das Wechselspiel von Form und Farbe, Raum und Licht, Bewegung und Gleichgewicht. Am Ende der Lekture wird der Leser kaum bemerkt haben, wieviel Material ihm prasentiert worden ist: von der Steinzeit bis zu Picasso.

A collection of essays that explores concrete poetry and the metaphors of Dante, photography and the meaning of music. It deals with color composition, forgeries, and the problems of perspective, on art in education and therapy, on the style of artists' late works, and the reading of maps.

Based on the assumption that art is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning, this book offers psychological findings range from experiments in the perception of shape or observations on the art work of children to broad deliberations on nature of images or of inspiration.

An essay that attempts to reconcile the disturbing contradiction between the striving for order in nature and in man and the principle of entropy implicit in the second law of thermodynamics - between the tendency toward greater organization and the general trend of the material universe toward death and disorder.

Using many examples, this title considers the factors that determine the overall organization of visual form in works of painting, sculpture, and architecture.

Explores the creative process through the sketches executed by Picasso for his mural "Guernica". The drawings and paintings shown herein, as well as the photographs of the stages of the final painting, represent the visual record of the creative stages of a major work of art.

Focuses on the way art in film was derived from that medium's early limitations: no sound, no color, no three-dimensional depth.

Visual Thinking has been the gold standard for art educators, psychologists, and general readers alike. This title states that all thinking (not just thinking related to art) is basically perceptual in nature, and that the ancient dichotomy between seeing and thinking, between perceiving and reasoning, is false and misleading.