This small and focused guide features full-page graphic representations with written descriptions on the facing page that discuss and offer direction on foreshortening and shadows in relation to perspective.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

No artist, critic, or art historian disputes the importance of recording how and why our conceptions and methods of depicting pictorial space have changed from ancient to modern times, and yet no previous book has provided a comprehensive history centered around these changing images of pictorial space and the ways in which their evolution reflects ideological changes in society. Dunning traces the two thousand year evolution of the conception and the depiction of space in European (primarily Italian and French) and American painting. Unraveling one illusory image after another into their particular elements, he explains the development of new styles and images in painting as a continuous rearrangement of these basic elements. Following this progression through the Greco-Roman period, the Italian Renaissance, impressionism, and the end of modern art, the author concludes with today's postmodern concentration on linguistic aspects in painting, a change from the former emphasis on space and illusion. Changing Images of Pictorial Space, with over forty illustrations, will be of interest to a wide audience—from art historians, painters, and art educators to general readers who wish to understand more about one of the central organizing principles in all schools and periods of art.

This classic guide to pictorial perspective, first published in 1892, is still widely regarded as one of the best resources on the subject. Green's clear explanations and numerous illustrations make this an accessible and informative book for artists, designers, and anyone interested in the principles of visual representation. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In Picturing Space, Displacing Bodies, Lyle Massey argues that we can only learn how and why certain kinds of spatial representation prevailed over others by carefully considering how Renaissance artists and theorists interpreted perspective. Combining detailed historical studies with broad theoretical and philosophical investigations, this book challenges basic assumptions about the way early modern artists and theorists represented their relationship to the visible world and how they understood these representations. By analyzing technical feats such as anamorphosis (the perspectival distortion of an object to make it viewable only from a certain angle), drawing machines, and printed diagrams, each chapter highlights the moments when perspective theorists failed to unite a singular, ideal viewpoint with the artist&’s or viewer&’s viewpoint or were unsuccessful at conjoining fictive and lived space.Showing how these &“failures&” were subsequently incorporated rather than rejected by perspective theorists, the book presents an important reassessment of the standard view of Renaissance perspective. While many scholars have maintained that perspective rationalized the relationships among optics, space, and painting, Picturing Space, Displacing Bodies asserts instead that Renaissance and early modern theorists often revealed a disjunction between geometrical ideals and practical applications. In some cases, they not only identified but also exploited these discrepancies. This discussion of perspective shows that the painter&’s geometry did not always conform to the explicitly rational, Cartesian formula that so many have assumed, nor did it historically unfold according to a standard account of scientific development.

"My principal concern in this book is the way we talk about pictures...Renaissance writers and artists imagined perspective quite differently than we do... I maintain... that Renaissance authors and artists thought there were many compatible perspectives, so that their writing and painting evince a "pluralist" approach in strict contrast to the monolithic mathematical perspective we imagine today. Theirs was more a collection of rational methods than a "rationalisation of sight", more a way of drawing objects than of setting them in an abstract "pictorial space". Most important... is the gradual recession of perspective as a mute method, a practical subset of geometry, and the growth of perspective as a metaphor, a powerful concept for ordering our perception and accounting for our subjectivity." -- Preface.

"This book is the third edition of the book in which the author set out to discuss the most essential sides of the child's psychic life as far as they develop up to his sixth year. The new literature considered and used in this book is rather concerned with the following subjects : (1) The general theory of psychic life in childhood; here arose the possibility of more closely connecting the theories of mental psychology (B¿hler) and of form-psychology (Koffka) with the theory of the personality, which has become even more decisively than before the foundation of my own attitude. (2) Experimental examination of little children for purposes of enquiry and test. (3 and 4) Psychoanalysis and the Montessori method. We have also added a small number of further extracts from our own diaries, the contents of which, being mainly unpublished so far, give promise of a rich yield in the future. To give facilities for the comparison of the present arrangement and compass of the book with the earlier editions, the most important differences are given as follows : Part I--The survey of the development of child psychology has been brought up to the present time and the general consideration of methods enlarged. Part II (Before Speech)--The first signs of intelligence have been discussed in more detail with reference to B¿hler's and Kohler's theories; the origin of sense-perception has received a different treatment which has some points of contact with form-psychology and which emphasises more strongly than before the inadequacy of "element" and "association" psychology; a critical attitude is assumed towards the theory of "infantile sexuality." Part III--The treatment of speech-development remains unchanged, but a new chapter has been added on the test enquiry into childish proficiency in speech (Descoeudres). Part IV (Looking at Pictures)--Here also there has been especial enlargement of the experimental part (Lotto method-Grade method). Part V (Memory)--Includes mention of the Montessori exercises. Part VI (Imagination and Play)--The play-theory is dealt with from the personality point of view; closer consideration is given to the views of the psychoanalysts (symbolism of imagination, dream-interpretation, sexual theory of play). On the other hand, discussion of confabulation and drawing have been deleted, to be included in a new Part VII--This treats under the title of "Enjoyment and Creative Power" the introductory stages and first initial forms of æsthetic feeling; the paragraphs dealing with fairy-tale imagination, the child and music, drawing from copies, are new, and the treatment of spontaneous drawing has been partly altered. Part VIII, dealing with "Thought and Intelligence," has a new experimental chapter, which treats of enquiries into power of abstraction and number as well as of the application of intelligence-tests to early childhood"--Preface. (PsycINFO Database Record (c) 2007 APA, all rights reserved).