By Margaret A. Hagen
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Additional info for Dürer's Devices: Beyond the Projective Model of Pictures. The Perception of Pictures
The perceptual effect of the true trompe l'oeil picture somehow must be accounted for by any adequate theory of pictorial perception. However, Gibson (1979) has written: If it is not true that a picture in perspective represents reality a n d a picture not in perspective fails to represent reality, w h a t is true? M y a n s w e r is that if a picture displays the perspective of a scene, it puts the v i e w e r into the scene, but that is a l l . It does not e n h a n c e the reality of the scene.
GENERATIVE THEORY: A PERCEPTUAL THEORY O F PICTORIAL REPRESENTATION 25 provide a sort of Jacobson and Halle articulation model of painting w h i c h might, like its counterpart in speech, considerably advance our understanding of similarities and differences among individual paintings. But it will not give us Egyptian art compared to and contrasted with that of the Japanese. It will not provide us with an organizational framework for discussing the incredible diversity of existing art styles around the world.
See also Hochberg 1962) The theory presented here differs from Arnheim's mainly in three ways: (a) the explanatory utility of Gestalt principles is no longer maintained; (b) structural equality as the basis of 1. GENERATIVE THEORY: A PERCEPTUAL THEORY O F PICTORIAL REPRESENTATION 43 observed commonalities across styles is rejected; and, (c) the sophisticated character of the aesthetic attitude is denied.