Overview

What can art tell us about how the brain works? And what can the brain tell us about how we perceive and create art? Humans have created visual art throughout history and its significance has been an endless source of fascination and debate. Visual art is a product of the human brain, but is art so complex and sophisticated that brain function and evolution are not relevant to our understanding? This book explores the links between visual art and the brain by examining a broad range of issues including: the impact of eye and brain disorders on artistic output; the relevance of Darwinian principles to aesthetics; and the constraints imposed by brain processes on the perception of space, motion and colour in art. Arguments and theories are presented in an accessible manner and general principles are illustrated with specific art examples, helping students to apply their knowledge to new artworks.

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9781107005983

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Reviews

'A sumptuous book covering art history and linking it to a broad and deep coverage of visual neurosciences. This is a delightful, engaging text for advanced undergraduates as well as for specialists in vision and in art who want to understand the overlap of the two disciplines. It will bring both groups of readers back to favourite works of art with a new appreciation.' Patrick Cavanagh, Universite Paris Descartes and Harvard University, Massachusetts 'With his clear style, Mather makes difficult constructs accessible which, I believe, will stimulate a modern debate about an ancient topic. Just the book I have been waiting for!' Gabriele Jordan, Newcastle University 'This book will stimulate young scientists to look at art and to apply their thinking to it. A pleasure to read.' Al Rees, Royal College of Art '... effectively merges the art and science sides of our visual experience ... I recommend this book.' Amy Ione, Director, The Diatrope Institute 'This is excellent material for lively discussions and much thought.' Perception

Advance praise: 'A sumptuous book covering art history and linking it to a broad and deep coverage of visual neurosciences. This is a delightful, engaging text for advanced undergraduates as well as for specialists in vision and in art who want to understand the overlap of the two disciplines. It will bring both groups of readers back to favourite works of art with a new appreciation.' Patrick Cavanagh, Universite Paris Descartes and Harvard University Advance praise: 'With his clear style, Mather makes difficult constructs accessible which, I believe, will stimulate a modern debate about an ancient topic. Just the book I have been waiting for!' Gabriele Jordan, Newcastle University Advance praise: 'This book will stimulate young scientists to look at art and to apply their thinking to it. A pleasure to read.' Al Rees, Royal College of Art

'A sumptuous book covering art history and linking it to a broad and deep coverage of visual neurosciences. This is a delightful, engaging text for advanced undergraduates as well as for specialists in vision and in art who want to understand the overlap of the two disciplines. It will bring both groups of readers back to favourite works of art with a new appreciation.' Patrick Cavanagh, Universite Paris Descartes and Harvard University, Massachusetts 'With his clear style, Mather makes difficult constructs accessible which, I believe, will stimulate a modern debate about an ancient topic. Just the book I have been waiting for!' Gabriele Jordan, Newcastle University 'This book will stimulate young scientists to look at art and to apply their thinking to it. A pleasure to read.' Al Rees, Royal College of Art '... effectively merges the art and science sides of our visual experience ... I recommend this book.' Amy Ione, Director, The Diatrope Institute 'This is excellent material for lively discussions and much thought.' Perception A sumptuous book covering art history and linking it to a broad and deep coverage of visual neurosciences. This is a delightful, engaging text for advanced undergraduates as well as for specialists in vision and in art who want to understand the overlap of the two disciplines. It will bring both groups of readers back to favourite works of art with a new appreciation. Patrick Cavanagh, Universite Paris Descartes and Harvard University With his clear style, Mather makes difficult constructs accessible which, I believe, will stimulate a modern debate about an ancient topic. Just the book I have been waiting for! Gabriele Jordan, School of Psychology, Newcastle University This book will stimulate young scientists to look at art and to apply their thinking to it. A pleasure to read. Al Rees, Visual Communication, Royal College of Art ... effectively merges the art and science sides of our visual experience ... I recommend this book. Amy Ione, Director, The Diatrope Institute This is excellent material for lively discussions and much thought. Perception

'A sumptuous book covering art history and linking it to a broad and deep coverage of visual neurosciences. This is a delightful, engaging text for advanced undergraduates as well as for specialists in vision and in art who want to understand the overlap of the two disciplines. It will bring both groups of readers back to favourite works of art with a new appreciation.' Patrick Cavanagh, Universite Paris Descartes and Harvard University 'With his clear style, Mather makes difficult constructs accessible which, I believe, will stimulate a modern debate about an ancient topic. Just the book I have been waiting for!' Gabriele Jordan, Newcastle University 'This book will stimulate young scientists to look at art and to apply their thinking to it. A pleasure to read.' Al Rees, Royal College of Art

Author Information

George Mather is Professor of Vision Science in the School of Psychology at the University of Lincoln. He has over twenty-five years of experience in teaching courses on human visual perception and the psychology of visual art to undergraduate and postgraduate students and is the author of Essentials of Sensation and Perception (2011), Foundations of Sensation and Perception (2009) and The Motion After-Effect: A Modern Perspective (1998, co-edited with Stuart Anstis and Frans Verstraten).

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