The Structure of Paintings by Michael LeytonThe Structure of Paintings by Michael Leyton

The Structure of Paintings

byMichael Leyton

Paperback | August 23, 2006

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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.
Michael Leyton's mathematical work on shape has been used by scientists in over 40 disciplines from chemical engineering to meteorology. His scientific contributions have received major prizes, such as a presidential award and a medal for scientific achievement. His new foundations to geometry are elaborated in his books in Springer-Ve...
Title:The Structure of PaintingsFormat:PaperbackDimensions:213 pages, 9.61 × 6.69 × 0.01 inPublished:August 23, 2006Publisher:Springer ViennaLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:3211357394

ISBN - 13:9783211357392

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Table of Contents

1 Shape as Memory Storage 1.1 Introduction 1.2 New Foundations to Geometry 1.3 The World as Memory Storage1.4 The Fundamental Laws1.5 The Meaning of an Artwork1.6 Tension1.7 Tension in Curvature1.8 Curvature Extrema1.9 Symmetry in Complex Shape1.10 Symmetry-Curvature Duality1.11 Curvature Extrema and the Symmetry Principle1.12 Curvature Extrema and the Asymmetry Principle1.13 General Shapes1.14 The Three Rules1.15 Process Diagrams1.16 Trying out the Rules1.17 How the Rules Conform to the Procedure for Recovering the Past1.18 Applying the Rules to Artworks1.19 Case Studies1.19.1 Picasso: Large Still-Life with a Pedestal Table1.19.2 Raphael: Alba Madonna1.19.3 Cézanne: Italian Girl Resting on Her Elbow1.19.4 de Kooning: Black Painting1.19.5 Henry Moore: Three Piece #3, Vertebrae1.20 The Fundamental Laws of Art2 Expressiveness of Line2.1 Theory of Emotional Expression2.2 Expressiveness of Line2.3 The Four Types of Curvature Extrema2.4 Historical Characteristics of Extrema2.5 The Role of the Historical Characteristics2.6 The Duality Operator2.7 Picasso: Woman Ironing3 The Evolution Laws3.1 Introduction3.2 Process Continuations3.3 Continuation at M+ and m- 3.4 Continuation at m+ 3.5 Continuation at M- 3.6 Bifurcations3.7 Bifurcation at M+ 3.8 Bifurcation at m-3.9 The Bifurcation Format3.10 Bifurcation at m+3.11 Bifurcation at M-3.12 The Process-Grammar3.13 The Duality Operator and the Process-Grammar3.14 Holbein: Anne of Cleves3.15 The Entire History3.16 History on the Full Closed Shape3.17 Gauguin: Vision after the Sermon3.18 Memling: Portrait of a Man3.19 Tension and Expression4 Smoothness-Breaking4.1 Introduction4.2 The Smoothness-Breaking Operation4.3 Cusp-Formation4.4 Always the Asymmetry Principle4.5 Cusp-Formation in Compressive Extrema4.6 The Bent Cusp4.7 Picasso: Demoiselles d'Avignon4.8 The Meaning of Demoiselles d'Avignon4.9 Balthus: Thérèse4.10 Balthus: Thérèse Dreaming4.11 Ingres: Princesse de Broglie4.12 Modigliani: Jeanne Hébuterne4.13 The Complete Set of Extrema-Based Rules4.14 Final Comments