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2006 | Buch

Shape as Memory Storage Kapitel lesen Erstes Kapitel lesen

The Structure of Paintings

verfasst von: Prof. Michael Leyton

Verlag: Springer Vienna

Enthalten in: Springer Professional "Wirtschaft+Technik" , Springer Professional "Technik" , Springer Professional "Wirtschaft"

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Über dieses Buch

Michael Leyton has developed new foundations for geometry in which shape is equivalent to memory storage. A principal argument of these foundations is that artworks are maximal memory stores. The theory of geometry is developed from Leyton's fundamental laws of memory storage, and this book shows that these laws determine the structure of paintings. Furthermore, the book demonstrates that the emotion expressed by a painting is actually the memory extracted by the laws. Therefore, the laws of memory storage allow the systematic and rigorous mapping not only of the compositional structure of a painting, but also of its emotional expression. The argument is supported by detailed analyses of paintings by Picasso, Raphael, Cezanne, Gauguin, Modigliani, Ingres, De Kooning, Memling, Balthus and Holbein.

Inhaltsverzeichnis

Frontmatter
Chapter 1. Shape as Memory Storage
Abstract
This is the first in a series of books whose purpose is to give a systematic elaboration of the laws of artistic composition. We shall see that these laws enable us to build up a complete understanding of any painting — both its structure and meaning.
Chapter 2. Expressiveness of Line
Abstract
A crucial phenomenon will now be introduced. When one looks over the diagrams produced for artworks on p28–40, something is immediately striking: The diagrams exhibit a considerable amount of the emotional expression of the works. This is a strange phenomenon. The diagrams were intended for one purpose only: to show the process-history recovered from the shapes. The arrows in the diagrams represent the actions that occurred in the recovered processes. Nevertheless, it is clear that, when one maps out the process-histories, one is mapping out the emotional content of the paintings. In fact, I will now propose the following basic law.
Chapter 3. The Evolution Laws
Abstract
This chapter develops a set of rules that are the most significant part of our theory of curvature extrema. After developing them, we will be able to analyze the structure of artworks to a new level of expressive power.
Chapter 4. Smoothness-Breaking
Abstract
We come now to another crucial factor in the extraction of process-history from curvature extrema. It concerns the breaking of smoothness. At the top of the curve in Fig 4.1b, there is a non-smooth extremum. This contrasts with the smooth extremum at the top of Fig 4.1a. Clearly, the point at the top Fig 4.1b has a particular quality of sharpness that the rest of the points on that curve, and all of the points on Fig 4.1a, do not possess.
Backmatter
Metadaten
Titel
The Structure of Paintings
verfasst von
Prof. Michael Leyton
Copyright-Jahr
2006
Verlag
Springer Vienna
Electronic ISBN
978-3-211-35742-2
Print ISBN
978-3-211-35739-2
DOI
https://doi.org/10.1007/978-3-211-35742-2

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