In his foreword to Harvard neurobiologist Margaret Livingstone's groundbreaking Vision and Art, Nobel prize-winner David Hubel expresses the hope that, "In the future, visual neurobiology will enhance art in much the same way as a knowledge of bones and muscles has for centuries enhanced the ability of artists to portray the human body." The future begins with this book, which demonstrates that how we see art depends ultimately on the cells in our eyes and our brains. Livingstone offers a comprehensive account of the biology of vision, drawing on the history of science and her own cutting-edge discoveries. She explains lucidly how the eye and brain translate different wavelengths of light into the colors and forms of the world around us. She then turns to art and explains the science underlying various phenomena in painting, using many examples-from the mystery of the allure of the Mona Lisa to the amazing atmospheric effects of the Impressionists-to illustrate her points. Her book will arm artists with new techniques that they can use in their own craft and thrill any reader with an interest in the biology of human vision.
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Book Description
Editorial Reviews
Amazon.com Review
What is it that makes the work of Monet, van Gogh, da Vinci, and Warhol so visually arresting? How do our eyes and brains coordinate to perceive line and color?
Neurobiologist Margaret Livingstone addresses these and many other questions in Vision and Art, a lively look at the science underlying art. She writes accessibly, but with plenty of technical depth, on such matters as the nature of light and the visible spectrum, the organization of visual-image processing, the structure of the vertebrate eye and brain, and individual and culturally conditioned perceptions of color. Using well-known works of art as case studies, she offers fascinating bits of trivia (on, for instance, how pastels are made and why purple dyes are so rare) alongside practical information for artists (for example, how high-contrast contours and evenly distributed luminance attract the eye).
The result is a literate, lucid blend of art and science that will appeal to artists and connoisseurs alike. --Gregory McNamee
From Publishers Weekly
Harvard Medical School neurobiology professor Margaret S. Livingstone explains how great artists exploit the functions of the human eye and brain in Vision and Art: The Biology of Seeing. Livingstone, whose biological explanation of why the Mona Lisa's smile appears enigmatic stirred much interest when it appeared in the New York Times, here offers a detailed explanation of how elements like perspective, luminance, color mixing, shading and chiaroscuro produce certain effects in art works. She discusses da Vinci's use of contrast, the illusory three-dimensionality of Impressionist paintings and why Mondrian's Broadway Boogie Woogie gives the impression of motion.
Copyright 2002 Cahners Business Information, Inc.
Copyright 2002 Cahners Business Information, Inc.
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Customer Reviews
Most Helpful Customer Reviews
78 of 81 people found the following review helpful
Format:Hardcover|Amazon Verified Purchase
This is a really neat book but the title is a misleading. It doesn't cover all visual art but concentrates on oil painting. The author is a neurophysiologist at Havard Med who can actually write intelligbly, entertainingly and accessibly about her field and how it intersects with 2 dimensional art. It is not an easy read. The book is chock full of visual illusions, detailed illustrations, carefully chosen paintings from the last 500 years and quotations from the scientists who have studied light, color and vision. The last chapter covers electronic media in the form of computer and TV screens and was particularly good but seemed to lack integration with the rest of the manuscript. Overall, this book is delighfully dense. Take some time and savor it.
47 of 48 people found the following review helpful
Format:Hardcover
Margaret Livingstone has produced a book so very useful to visual artists that it may, in its density of ideas, seem definitive rather than evocative. But evocative it is. As we learn from studying it, Livingstone's book offers implications that may be developed by any artist who reads it in almost any direction. One might take as an example the very rich Chapter 8, with its notions of luminance as a balance for the salience, or pushiness of certain colors - how Leonardo handled it, how Ingres handled it, and how today's painter or digital image maker might go even further. The size and shape of the book allow for illustrations that work on the eye at the right scale. And there is an overall visual loudness to the book that is jarring and satisfying.
The author gets to the structure of our visual systems, makes them very clear, and tells us things that are lasting and verifiable. Her spirit of personal experimentation shows in the book, and makes us think that looking inquisitively at the world will pay off.
53 of 56 people found the following review helpful
Format:Hardcover
Some teasers on the back cover:
"Why do Claude Monet's fields of flowers seem to wave in the breeze?"
"What is the secret of Mona Lisa's smile?"
The first two chapters cover some scientific fundamentals- how light and the human vision works. While this is all very scientific, every effort is made to make it understandable, with plenty of full-color diagrams illustrating the concepts. While these 2 chapters are not the easiest to read, they're not rocket science either, and provide a valuable foundation for the rest of the book. Not essential but VERY useful.
Things start to get interesting toward the end of the 2nd chapter, when we start to understand what a red/green colorblind person sees. But the best stuff starts to come in the third chapter ("Luminance and Night Vision"). Plenty of interesting illustrations are provided in this chapter (like red cherries in a blue bowl, where the cherries appear brighter or darker than the bowl depending on the ambient light, or flickering polkadots), and continues until the rest of a book, making it a truly fascinating read.
Oh, and the explanation on Mona Lisa's enigmatic smile is very convincing.
I definitely recommend this book to anyone interested in both visual art and science.
I also recommend it to anyone who's interested in science and how things work- you'll appreciate some art pieces a lot more after reading this book.
Most Recent Customer Reviews
Good Book
I really enjoyed this book. Meets all my expectations. I have not read it all, because they do not quite understand English. The reading seems easy. Thanks to Amazon.
Published 10 days ago by Delson
Clear and concise
This is an excellent read on the titular subject, with emphasis being placed on the biology and not things subjective, and many colour images are provided by way of illustration... Read more
Published 8 months ago by Douglas McMillin
a book both for serious psychology class material and for fun
I've purchased several books on art and psychology, and there are certainly some classics out there that are worth reading, but I've never come across a book that was as engaging... Read more
Published 12 months ago by JEON
Great book but no references
Having read some technical papers by Livingston, I checked out this book by her at a library. I was so impressed, I decided to buy my own copy. Read more
Published 13 months ago by Michael W. Mauser
The fascinating meeting of science and art
"Seeing is believing" is a very old adage, but what is it that we really see? That is the big question this book seeks to answer. And a very big question it is. Read more
Published 17 months ago by W. Maite
Vision and Art
This book is great, now I have it I can use the idea to teach in my classes.
Published 19 months ago by Darlene
A professional artists learns about seeing art and color
The Biology of Seeing is a must for every artist, teacher and scientist.
Neurobiologist, Margaret Livingstone, is very creative in her presentation
of experiments with... Read more
Neurobiologist, Margaret Livingstone, is very creative in her presentation
of experiments with... Read more
Published on March 21, 2010 by Chia
The Impact of Artistic Techniques from a Biological Standpoint
I am now confident that I can make intelligent comments to high society folk at any art gallery. And I'll do it in a way unlike they've heard before. Read more
Published on September 26, 2009 by Michael Gadaleta
An excellent balance and a beautiful book...
Any artist/photographer will find a wealth of information about color, light, seeing and the brain in this book. Read more
Published on August 28, 2009 by James Conklin
Deep subject, clear writing
This book describes how the brain has two modes of visual interpretation: the "Where" mode, a color-blind mode that monitors motion and location, and the "What" mode, that... Read more
Published on February 16, 2009 by Brad Teare
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