Rudolf Arnheim:

Bibliography of Articles, Reviews, Commentaries and Letters
Published in Leonardo, 1968--2000

Articles

"Buildings and Human Figures Aware of Each Other," 32, No. 3, pp. 197-198 (1999).

"The Coming and Going of Images," 33, No. 3, pp. 167-168 (2000).

"An Exchange of Views on Gestalt Psychology and Aesthetic Explanation," 14, No. 3, p. 220 (1981).

"Inverted Perspective in Art: Display and Expression," 5, No. 2, p. 125 (1972).

"On Order, Simplicity and Entropy," 7, No. 2, p. 139 (1974).

"Perception of Perspective Pictorial Space from Different Viewing Points," 10, No. 4, p. 283 (1977).

"Progress in Color Composition," 20, No. 2, p. 165 (1987).

"The State of the Art in Perception," 20, No. 4, p. 305 (1987).

"Symmetry and the Organization of Form: A Review Article," 21, No. 3, pp. 273--276 (1988).

"To the Rescue of Art," 19, No. 2, p. 95 (1986).

"The Two Authenticities of the Photographic Media," 30, No. 1, pp. 53-55 (1997).

Commentaries

"Reply to Peter Dodwell and Bela Petheo," 21, No. 2, p.226 (1988).

"Reply to Arthur Loeb," 22, No. 2, p. 282 (1989).

"Some Comments on J. J. Gibson's Approach to Picture Perception." 12, No. 2, p. 121 (1979).

Letters

On the Application of the Golden Ratio in the Visual Arts (re: Roger Fischler). 14, No. 4, p. 349 (1981).

Appreciation of Dr. J. Frank Malina. 15, No. 3, p. 256 (1982).

Concerning Isomorphism (re: Roy R. Behrens). 20, No. 2, p. 210 (1987).

A Critical Account of some of Josef Albers' Concepts of Color (re: Alan Lee). 15, No. 2, p. 174 (1982).

On Entropy and Art (re: Peter Lloyd Jones, Michael Hoare). 6, No. 2, p. 188 (1973).

On Entropy and Art (re: Michael Hoare). 6, No. 3, p. 282 (1973).

On "The Information Available in Pictures" (James J. Gibson). 4, No. 2, p. 197 (1971).

On Interpreting Pictorial Art (re: David R. Topper). 11, No. 2, p. 174 (1978).

Inverted Perspective in Art (re: Kenneth R. Adams). 5, No. 3, p. 283 (1972).

J. M. Kennedy's Commentary on my Approach to Art and Visual Perception. 13, No. 2, p. 175 (1980).

Perception of Perspective Pictorial Space from Different Viewing Points (re: William A. Adams). 11, No. 2, p. 173 (1978).

Perception of Perspective Pictorial Space (re: Richard Greene). 12, No. 4, p. 349 (1979).

On Rauschenbach's Paper (re: inverted perspective; Boris V. Rauschenbach). 16, No. 4, p. 334 (1983).

The Role of Projective Geometry and Perspective. 18, No. 2, p. 126 (1985).

Book Reviews

Review of Alles Veloziferisch: die Eisenbahn, vom Ungeheuer zur Asthetik der Geschwindigkeit by Dirk Hoeges. 20, No. 1, p. 99 (1987).

Review of Arrest and Movement. An Essay on Space and Time in the Representational Art of the Near East by H. A. Groenewegen-Frankfort. 21, No. 3, p. 330 (1988).

Review of Art and Physics: Parallel Visions in Space, Time and Light by Leonard Shlain. 26, No. 2, p. 262 (1993).

Review of Beauty and the Brain: Biological Aspects of Aesthetics by Ingo Rentschler, Barbara Herzburger and David Epstein. 23, No. 1, p. 144 (1990).

Review of The Body and the Self by José Luis Bermudéz, Anthony Marcel and Naomi Eilan. 30, No. 1, p. 70 (1997).

Review of The Challenge of Art and Psychology by Seymour B. Sarason. 25, No. 1, p. 98 (1992).

Review of Changing Images by William V. Dunning. 26, No. 2, p. 172 (1993).

Review of Distortion in Art: The Eye and the Mind by J. B. Deregowski. 17, No. 4, p. 302 (1984).

Review of Engineering A New Architecture by Tony Robbin. 30, No. 2, p. 159 (1997).

Review of Fearful Symmetry: The Search for Beauty in Modern Physics by A. Zee. 21, No. 4, p. 457 (1988).

Review of George Rickey in Berlin, 1967--1992, edited by J"rn Merkert and Ursula Prinz. 28, No. 1, p. 76 (1995).

Review of Goethe's Botanical Writings, Bertha Mueller, trans. 26, No. 1, p. 85 (1993).

Review of Hand and Mind: What Gestures Reveal about Thought by David McNeil, 27, No. 4, p. 358 (1994).

Review of Leonardo da Vinci: The Daedalian Mythmaker by Giancarlo Maiorino. 27, No. 1, p. 83 (1994).

Review of The Origin of Perspective by Hubert Damisch, John Goodman, trans. 28, No. 1, p. 75 (1995).

Review of Picasso, "Guernica" by Eberhard Fisch; Picasso's "Guernica" after Ruben's "Horrors of War" by Alice Doumenian Tankard. 18, No. 2, p. 116 (1985).

Review of Picture Theory: Essays on Verbal and Visual Representation by W. J. T. Mitchell. 28, No. 1, p. 75 (1995).

Review of Rethinking the Forms of Visual Expression by Robert Sowers. 26, No. 2, p. 172 (1993).

Review of The Science of Art: Optical Themes in Western Art from Brunelleschi to Seurat by Martin Kemp. 24, No. 1, p. 92 (1991).

Review of Secret Teachings in the Art of Japanese Gardens: Design Principles, Artistic Values by David A. Slawson. 22, No. 1, p. 126 (1989).

Review of Seeing Voices. A Journey into the World of the Deaf by Oliver Sacks. 24, No. 3, p. 364 (1991).

Review of Siegfried Kracauer and Erwin Panofsky: Briefwechsel 1941--1966, edited by Volker Breidecke. 31, No. 1, pp. 74-75 (1998).

Review of Spiritual Space: The Religious Architecture of Pietro Belluschi by Meredith Clausen. 27, No. 4, p. 358 (1994).

Review of Structure in Science and Art by Peter Medawar and Julian H. Shelley. 15, No. 4, p. 316 (1982).

Review of Symmetrie, Bauplan der Welt by Henning Genz. 26, No. 1, p. 87 (1993).

Review of Visual Literacy: Image, Mind and Reality by Paul Messaris. 29, No. 1, p. 77 (1996).

Review of World War I and the Weimar Artists: Dix, Grosz, Beckman, Schlemmer by Matthias Eberle. 20, No. 2, p. 199 (1987).

Articles about Rudolf Arnheim Published in Leonardo

Behrens, Roy. R. "Rudolf Arnheim: The Little Owl on the Shoulder of Athene," 31, No. 3, pp. 231-238 (1998).