The Structure of Paintings [electronic resource] / by Michael Leyton.

By: Leyton, Michael [author.]Contributor(s): SpringerLink (Online service)Material type: TextTextLanguage: English Publisher: Vienna : Springer Vienna, 2006Description: VI, 237 p. With numerous illus., partly in color. online resourceContent type: text Media type: computer Carrier type: online resourceISBN: 9783211357422Subject(s): Computer science | Computer graphics | Computer vision | Optical pattern recognition | Information systems | Computer aided design | Computer Science | Computer Graphics | Computer-Aided Engineering (CAD, CAE) and Design | Media Design | Pattern Recognition | Image Processing and Computer Vision | Computer Appl. in Arts and HumanitiesAdditional physical formats: Printed edition:: No titleDDC classification: 006.6 LOC classification: T385Online resources: Click here to access online
Contents:
Shape as Memory Storage -- Expressiveness of Line -- The Evolution Laws -- Smoothness-Breaking.
In: Springer eBooksSummary: 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.
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Shape as Memory Storage -- Expressiveness of Line -- The Evolution Laws -- Smoothness-Breaking.

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.

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