@article{1463178,
      recid = {1463178},
      author = {Derȩgowski, Jan B.,},
      title = {On picture making and picture seeing : a brief discourse  /},
      pages = {1 online resource (152 pages) :},
      abstract = {Archaeological and anthropological investigations of  depictions seldom extend beyond a single culture or a  single geographical location, although there is a powerful  factor common to all depictions, the factor of human  perception. In this volume an attempt is made to show how  this factor affects both creation and recognition of  depictions, how, in common with everyday vision of the  environment, typical contours are derived and used, not  merely to depict individually readily recognisable models,  but also how by concatenation they lead to such a splendid  figure as Australian Kakadu crocodiles, or by distortion to  creation of illusions of pictorial depth, such as is evoked  by Leonardo da Vincis perspective and by inverted  (Byzantine) perspective thought by some to be an  aberration. Bartels studies show that pictorial depth is  often achieved to the artists, and many a viewers, but not  to geometers satisfaction by partial distortion, and  Chinese masterpieces embody, side by side, normal and  inverted perspective. The visual process is universally  uniform (if it were not, one would not be able to recognise  an Altamira bison as a bison) and its foibles can be freely  exploited. Its best known exploiter is probably Cezanne.  His pictures are admired by many and puzzle many.  Strzemiski postulated that they compound distinct lines of  sight, thus endorsing primacy of central vision, a concept  thought by Gombrich to be of greater import to geometers  than to artists.},
      url = {http://library.usi.edu/record/1463178},
      doi = {https://doi.org/10.1007/978-3-031-23348-7},
}