A Photomontage of a Painting as Seen during Visual Fixation

Bibliographic Data

ID10274290
AuthorsWilliam J Kelly (0000-0002-5871-9785, corresponding author)
Year1980
Volume13
Issue1
Pages38
Publication date1980-01-01
Open AccessNo
TypeARTICLE
VenueLeonardo (JOURNAL)
Journal identifiersISSN: 0024-094X • E-ISSN: 1530-9282
PublisherJSTOR (PUBLISHER)
DOI10.2307/1577919
OpenAlexW2334420625
LanguageEN
Citations received1
References cited2

Amongst visual artists there has been some discussionthough more often than not general acceptance-of concepts related to how the eyes move and what they see when looking at a painting. In the past 10 to 15 years there has been some important research carried out in these areas. The use of highly sophisticated equipment has made it possible to test long-held hypotheses and to arrive at certain factual explanations. Artists have long known that the eyes do not see everything in front of them with fine clarity. Art students, in the first stages of their studies are told that composition is the necessary structure of a painting and that it '... may be achieved in many different ways: by geometric means, by lines or curves, or by areas related in value or in hue, which lead our eyes from portion to portion as they construct the image in our brain' [1]. The history of art informs one of the use of one-, twoand three-point perspective as well as of the time-honoured work of artists who employed compositional devices, strong contrasts, gestures and facial expressions in order to direct the eye movements of viewers. Numerous devices have been employed to provide various 'excitation points' upon which eyes may fix or, alternatively, paths along which they may move

Art · Fixation (population genetics) · Painting · Visual arts · Aesthetic Perception and Analysis · Medicine · Museums and Cultural Heritage

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