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OverviewHow does a visual artist manage to narrate a story, which has a sequential and therefore temporal progression, using a static medium consisting solely of spatial sign elements and, what is more, in a single image? This is the question on which this work is based, posed by its designer, Alberto Argenton, to whose memory it is dedicated. The first explanation usually given by scholars in the field is that the artist solves the problem by depicting the same character in a number of scenes, thus giving indirect evidence of events taking place at different times. This book shows that artists, in addition to the repetition of characters, devise other spatial perceptual-representational strategies for organising the episodes that constitute a story and, therefore, showing time. Resorting to the psychology of art of a Gestalt matrix, the book offers researchers, graduates, advanced undergraduates, and professionals a description of a large continuous pictorial narrative repertoire (1000 works)and an in-depth analysis of the perceptual-representational strategies employed by artists from the 6th to the 17th century in a group of 100 works narrating the story of Adam and Eve. Full Product DetailsAuthor: Laura Messina-Argenton , Tiziano Agostini , Tamara Prest , Ian F. VerstegenPublisher: Springer International Publishing AG Imprint: Springer International Publishing AG Edition: 1st ed. 2022 Weight: 0.900kg ISBN: 9783031136610ISBN 10: 3031136616 Pages: 395 Publication Date: 15 February 2023 Audience: Professional and scholarly , Professional & Vocational Format: Hardback Publisher's Status: Active Availability: Manufactured on demand  We will order this item for you from a manufactured on demand supplier. Table of ContentsForeword, by Laura Messina ArgentonNotes on Alberto Argenton, by Ian VerstegenA personal memory, by Tiziano AgostiniA Brief Preamble on the Research, by Tamara Prest1. Continuous Pictorial Narrative1.1. The Perspective from Art History: Narrative Modes1.2. The Perspective from Psychology and Neighbouring Fields1.3. A Third Perspective: The View from the Psychology of Art2. A Study Project on Continuous Pictorial Narrative2.1. Aims, Hypotheses, Method and Phases of the Study2.2. Data Relative to the General Repertoire3. Research on the story of Adam and Eve: General Framework3.1. Research Phases3.2. Comparison of the General and Thematic Repertoires4. First Research Phase on the Story of Adam and Eve4.1. Identification and Classification of Episodes4.1.1. Frequency of Scenes4.2. Configuration of the Artworks of the Thematic Repertoire4.2.1. Context4.2.2. Number of Scenes4.2.3. Narrative Progression4.2.4. Spatial Disposition5. Second Research Phase on the Story of Adam and Eve5.1. Perceptual-representational Arrangement5.1.1. Segmentation of Episodes5.1.2. Space/Time Separating Cues5.1.3. Identification of Repeated Protagonists5.1.4. Vectors of Direction5.2. Data Analysis Results on Perceptual-representational Arrangement5.2.1. Analysis on the Segmentation of Episodes5.2.2. Analysis on the Space/Time Separating Cues5.2.3. Analysis on the Identification of Repeated Protagonists5.2.4. Analysis on the Vectors of Direction5.2.5. Essential Considerations of the Results5.3. Pictorial Identity and Variability: Iconographic Models5.3.1. An Example: Michelangelo’s Fall and ExpulsionPlates: Story of Adam and Eve (100 images)Thumbnails: works included in the thematic repertoire on the story of Adam and Eve with the classification codes of the scenes representedReferencesAppendix 1. General repertoire of pictorial continuous narrative distinguished by themesAppendix 2. Chapters of the Bible considered in the thematic repertoire on the story of Adam and EveReviewsAuthor InformationDr. Laura Messina Argenton, Senior Scholar, University of Padua, Padua, Italy Tab Content 6Author Website:Countries AvailableAll regions |
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