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Credits: Key Sources & Contributors Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Credits: Key Sources & Contributors About Credits Citations Teacher's Guide Bibliography Press font size: a a a Credits: Key Sources & Contributors Key Sources Marge Livingstone is Professor of Neurobiology at Harvard Medical School. She studies vision using anatomy, physiology, and human perception. Livingstone has a special interest in how the eye and brain use color and luminance information. She is also involved in studies of dyslexia and visual processing. Her research and book provide the foundation for many of the insights presented in this exhibit on luminance and peripheral vision. Semir Zeki is professor of Neurobiology at UCL and co-head of the Wellcome Department of Cognitive Neurology. A Fellow of the Royal Society and member of the American Philosophical Society, he specializes in studying the visual brain. Recently, he has extended his work ... http://www.webexhibits.org/colorart/about2.html · 13.0k |
Bibliography and Suggested Reading Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Bibliography and Suggested Reading About Credits Citations Teacher's Guide Bibliography Press font size: a a a Bibliography and Suggested Reading The study of art and the brain is a new field, with limited resources in print. Below are some of the most significant references for learning more, which are generally available. For a detailed listing of sources and references, see credits. Vision and Art: The Biology of Seeing by Margaret S. Livingstone is written for students, artists and designers, with lucid prose and easy-to-understand charts and diagrams. It nicely explains how the eye and brain translate different wavelengths of light into the colors and forms of the world around us, from the mysterious allure of the Mona Lisa to the amazing atmospheric effects of the Impressionists, as well as aspects of advertising and television. This exhibit is drawn ... http://www.webexhibits.org/colorart/bibliography.html · 12.4k |
The exhibits - Webexhibits webexihibits.org http://www.webexhibits.org/about/exhibits.html · 12.5k |
Getting Started: How Can This Exhibit Help? Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Getting Started: How Can This Exhibit Help? About Credits Citations Teacher's Guide Bibliography Press Overview Getting started Topic A Topic B Topic C Topic D font size: a a a Getting Started: How Can This Exhibit Help? This online exhibit informs students about another dimension, revealing some secrets of vision to art and art history students, and reminding science students that there is more to science than charts and graphs. This exhibit can be used in several levels of education, particularly High School and post-secondary classes. Here’s what what you get… Aims This exhibit aims to: Introduce students to the key concepts underlying the perception of color and vision, especially in relation to the art of 19th, 20th and 21st centuries Introduce and discuss a number of important artworks and their relation to color theory since the 19th century ... http://www.webexhibits.org/colorart/teaching1.html · 8.8k |
Ideas and Questions for Class Discussion and Accreditation Tasks Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Ideas and Questions for Class Discussion and Accreditation Tasks About Credits Citations Teacher's Guide Bibliography Press Overview Getting started Topic A Topic B Topic C Topic D font size: a a a Ideas and Questions for Class Discussion and Accreditation Tasks TOPIC A: LIGHT, COLOR AND VISION Key understanding Our ability to respond to colors is the result of a complex process that can be understood by studying what takes place in the rods and cones of the eye. Many scientists and artists have studies color and light, developing color theory. Our vision is also affected by different qualities of paints such as egg tempera and oil color, influencing on the brightness of colors, color contrasts and depth of artworks. Possible tasks and questions What do the following terms mean? Hue Saturation Luminance Discuss the development of color theory. ... http://www.webexhibits.org/colorart/teaching2.html · 8.0k |
Pigments through the Ages - Credit and feedback Home Introduction Choose a pigment Browse colors Time periods Make paintings Look closer About www.webexhibits.org/pigments » Credit and feedback Credit and feedback Jump to pigment Azurite Bone black Cadmium yellow/red Carbon black Carmine Cerulean Blue Chrome orange Chrome yellow Cobalt blue Cobalt green Cobalt violet Cobalt yellow Copper resinate Egyptian blue Emerald green Green earth Indian yellow Indigo Lead white Lead-tin yellow Lemon yellow Lime white Madder Malachite Naples yellow Orpiment Prussian blue Realgar Red lead Red ochre Smalt Titanium white Ultramarine Umber Van Dyke brown Verdigris Vermilion Viridian Yellow ochre Zinc white font size: a a a About Citations Credits References Antonino Cosentino Antonino Cosentino has been instrumental in updating and expanding Pigments through the Ages, and has welcomed the opportunity to amplify the exhibit with information about his passion: the scientific examination of art. A physicist specializing in conservation science, Antonio is currently a visiting scholar at ... http://www.webexhibits.org/pigments/intro/credits.html · 15.2k |
Bridget Riley and Op Art Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Bridget Riley and Op Art Introduction Color theory Paints African Art 19th cent 20th & 21st cent Modern art and vision Bridget Riley Richard Billingham font size: a a a Bridget Riley and Op Art White Disks, Bridget Riley, 1964. She wrote, “The uncertainties of a drawn structure increase when it is composed of similar, repeated elements. Because they are small and compacted, these elements begin to fuse while they are easy to separate when they are big.” Bridget Riley (1931) is a well-known British artist celebrated since the mid-1960s for her distinctive, optically vibrant paintings, called “Op Art.” She explores optical phenomena and juxtaposes color either by using a chromatic technique of identifiable hues or by selecting achromatic colors (black, white or gray). In doing so, her work appears to flicker, pulsate and move, encouraging the viewer’s visual ... http://www.webexhibits.org/colorart/riley.html · 9.1k |
What is African Art? Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » What is African Art? Introduction Color theory Paints African Art 19th cent 20th & 21st cent African Art What is African Art? Egungun font size: a a a What is African Art? Ndebele Homestead Any discussion of African art begs the question, What is African art? In the West, painting has enjoyed a privileged status both as an object and as the source of critical theory. In Africa, painting was an attribute of the applied arts or a means to decorate surfaces on sculpture, pottery, or architecture, such as on the walls of South African Ndebele homesteads. Beaded crown (ade ileke), Yoruba, 19th century, Nigeria. Painting has a secure place in settled communities, but sub-Saharan Africa’s history is one of prolonged migrations and complex settlement patterns. Useful objects, such as pots, mats, clothes, stools, headrests, and spiritually important artifacts ... http://www.webexhibits.org/colorart/african3.html · 8.3k |
Ideas and Questions for Class Discussion and Accreditation Tasks Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Ideas and Questions for Class Discussion and Accreditation Tasks About Credits Citations Teacher's Guide Bibliography Press Overview Getting started Topic A Topic B Topic C Topic D font size: a a a Ideas and Questions for Class Discussion and Accreditation Tasks TOPIC D: PERIPHERAL VISION Key understanding Understand how our sensitivity to detail varies from the center of our vision to the edges, and also depending on the speed of a scene. Therefore, paintings that incorporate blur can seem more realistic. Possible tasks and questions How can artists use peripheral vision to focus on what is important in a painting: say a portrait? What are the important features of a portrait? (Notice the ‘plural’.) How have contemporary artists questioned our logical understanding of painting as a stable object? How have artists used our peripheral vision in ... http://www.webexhibits.org/colorart/teaching5.html · 7.9k |
Art and Optics : Sidney Perkowitz: Page 1 « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography Science and Art Closer Than You Think Artists and optics The following are thoughts about how: Optical technology and the study of light go far back in human culture Contemporary artists are often quick to adopt new technology, or to absorb its implications. Was it any different then? Why should the use of a tool diminish the value of the art? Optical technology and the study of light go far back in human culture A Brief History of Optics: Reflection and Mirrors 2000 - 1000 BCE: mirrors in Egyptian tombs, in book of Exodus c. 500 BCE: Mo Zi, China, examines concave mirrors 300 BCE: Euclid (ascribed), Catoptrics, gives law of reflection c. 212 BCE: Archimedes uses curved mirrors to burn Roman warships with sunlight (unsubstantiated) c. 300 CE: earliest known flat ... http://www.webexhibits.org/hockneyoptics/post/perkowitz.html · 17.0k |
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