Always Learning to See: The Art and Thought of Sargy Mann

Pepperell, Robert

doi:10.1163/22134913-00002056

Cited by 6 publications

(6 citation statements)

References 10 publications

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“…Importantly, paintings that reflect this perceptual structure are reported as being more accurate representations of visual space in comparison with other perspectival systems [21]. Similar patterns of spatial organization can often be found in Bonnard's work [22] and serve to enhance the sense of intimacy and presence engendered by close study of his paintings. suggests that he was keenly aware that our subjective experience of discrete objects standing out against backgrounds is as much a product of visual processing as it is a property of the world itself.…”

Section: Matching Pictorial Space To Perception and Memorysupporting

confidence: 55%

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Slow Looking at Slow Art: The Work of Pierre Bonnard

Chamberlain

Pepperell

2021

Leonardo

Self Cite

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Slow looking is an increasingly prevalent strategy for enhancing visitor engagement in the gallery, yet there is little research to show why looking at artworks for longer should be beneficial. The curator of a recent exhibition of Pierre Bonnard at the Tate Gallery in London encouraged viewers to look slowly in order to enrich their experience of Bonnard’s paintings. This article explores some of the reasons why Bonnard’s work, in particular, rewards the viewer who spends more time studying it. The authors draw on various scientific studies of the ways in which observers process color contrasts, spatial configuration and figure-ground segregation in artworks and in everyday vision. They propose that prolonged interactions with works of art can facilitate perceptual learning, and they suggest ways in which these effects could be empirically studied using psychological methods.

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Section: Matching Pictorial Space To Perception and Memorysupporting

confidence: 55%

“…When they successfully record what they see in paint or graphite or pixels then we, as their audience, are invited to share in this heighted sensory experience [30. See Pepperell [22]].…”

Section: Slow Looking and Perceptual Learningmentioning

confidence: 99%

Slow Looking at Slow Art: The Work of Pierre Bonnard

Chamberlain

Pepperell

2021

Leonardo

Self Cite

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“…For example, Pierre Bonnard, who had a well-documented preoccupation with recording his own visual perception [41,42,43], painted a wide-angle view of the interior of a room. The centrally-viewed radiator in the room appears much larger in the painting than in a photograph of the same scene, while objects in the peripheral foreground are much diminished, following the pattern of pictorial organization favored by Cézanne [44,45]. Michael Baxandall’s [46] close reading of Jean-Baptist-Siméon Chardin’s work, meanwhile, benefits from an understanding of the phenomenology of peripheral vision, and Rod Bantjes [47] has investigated the impact of stereoscopic photography on the representation of depth in nineteenth-century painting.…”

Section: Introductionmentioning

confidence: 99%

Natural Perspective: Mapping Visual Space with Art and Science

Burleigh

Pepperell

Ruta

2018

Vision

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Following its discovery in fifteenth-century Italy, linear perspective has often been hailed as the most accurate method of projecting three-dimensional visual space onto a two-dimensional picture plane. However, when we survey the history of European art it is evident that few artists fully complied with its mathematical rules, despite many of them being rigorously trained in its procedures. In this paper, we will consider how artists have actually depicted visual space, and present evidence that images created according to a "natural" perspective (NP) used by artists are judged as better representations of visual space than those created using standard linear (LP) and curvilinear fisheye (FP) projective geometries. In this study, we built a real three-dimensional scene and produced photographs of the scene in three different perspectives (NP, LP and FP). An online experiment in which we asked people to rank the perspectives in order of preference showed a clear preference for NP compared to the FP and LP. In a second experiment, participants were asked to view the real scene and rate each perspective on a range of psychological variables. Results showed that NP was the most preferred and the most effective in depicting the physical space naturally. We discuss the implications of these results and the advantages and limitations of our approach for studying the global metric and geometrical structure of visual space.

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“…In these cases, a pattern consistent with that outlined above often recurs, namely that regions of space in the centre of the scene tend to be enlarged as compared with linear perspective and those in the periphery tend to be diminished. Examples can be found among the interior scenes that Pierre Bonnard painted in southern France during the early part of the twentieth century (Pepperell 2016). Bonnard often painted unusually wide fields of view and was fascinated with the elusive properties of peripheral vision (Clair 1984).…”

Section: Natural Perspectives In Art and Sciencementioning

confidence: 99%

Egocentric Dynamic Planar Organization of the Angular Movements of the Arm During a Violinist’s Performance of a Mozart Symphony

Chéron

Petieau

Cebolla

et al. 2021

Lecture Notes in Morphogenesis

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Always Learning to See: The Art and Thought of Sargy Mann

Cited by 6 publications

References 10 publications

Slow Looking at Slow Art: The Work of Pierre Bonnard

Slow Looking at Slow Art: The Work of Pierre Bonnard

Natural Perspective: Mapping Visual Space with Art and Science

Egocentric Dynamic Planar Organization of the Angular Movements of the Arm During a Violinist’s Performance of a Mozart Symphony

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