| Preface |
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ix | |
| Acknowledgments |
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xiv | |
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2 | (24) |
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The Vocabulary of Introductory Terms |
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3 | (2) |
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The Need and Search for Art |
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5 | (5) |
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10 | (8) |
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The Three Basic Components of a Work of Art |
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11 | (1) |
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11 | (1) |
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11 | (1) |
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12 | (3) |
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15 | (3) |
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The Ingredients Assembled |
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18 | (8) |
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Two-Dimensional Media and Techniques |
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20 | (2) |
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The Two-Dimensional Picture Plane |
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22 | (1) |
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22 | (1) |
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Positive and Negative Areas |
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22 | (2) |
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24 | (2) |
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26 | (42) |
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28 | (1) |
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29 | (38) |
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The Seven Principles of Organization |
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31 | (1) |
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31 | (16) |
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47 | (3) |
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50 | (6) |
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56 | (6) |
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62 | (1) |
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63 | (2) |
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65 | (1) |
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Space: Result of Elements/Principles |
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66 | (1) |
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67 | (1) |
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68 | (20) |
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70 | (1) |
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Line: The Elementary Means of Communication |
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70 | (4) |
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The Physical Characteristics of Line |
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74 | (4) |
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74 | (1) |
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74 | (1) |
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74 | (2) |
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76 | (1) |
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77 | (1) |
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The Expressive Properties Of Line |
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78 | (1) |
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Line and the Other Art Elements |
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79 | (5) |
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79 | (2) |
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81 | (1) |
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81 | (1) |
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81 | (3) |
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The Spatial Characteristics of Line |
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84 | (1) |
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84 | (4) |
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88 | (22) |
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90 | (1) |
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91 | (1) |
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91 | (4) |
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95 | (9) |
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96 | (1) |
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The Illusions of Two-Dimensional Shapes |
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96 | (1) |
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The Illusions of Three-Dimensional Shapes |
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97 | (3) |
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Shape and Principles of Design |
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100 | (1) |
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101 | (1) |
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101 | (2) |
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Duration and Relative Dominance |
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103 | (1) |
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104 | (1) |
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Shapes and the Space Concept |
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104 | (1) |
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104 | (6) |
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110 | (16) |
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112 | (1) |
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Introduction to Value Relationships |
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112 | (1) |
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Descriptive Uses of Value |
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113 | (1) |
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114 | (7) |
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116 | (3) |
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119 | (1) |
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Printmaking Techniques and Value |
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119 | (2) |
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121 | (1) |
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Compositional Functions of Value |
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121 | (5) |
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123 | (2) |
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Open and Closed Compositions |
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125 | (1) |
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126 | (14) |
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The Vocabulary of Texture |
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128 | (1) |
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129 | (1) |
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Texture and the Visual Arts |
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129 | (2) |
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131 | (1) |
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131 | (5) |
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131 | (2) |
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133 | (1) |
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134 | (1) |
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135 | (1) |
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136 | (1) |
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137 | (1) |
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Relative Dominance and Movement |
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137 | (1) |
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138 | (1) |
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138 | (1) |
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139 | (1) |
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140 | (36) |
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142 | (1) |
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The Characteristics of Color |
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143 | (25) |
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Light: The Source of Color |
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143 | (1) |
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144 | (1) |
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145 | (1) |
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146 | (1) |
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147 | (1) |
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148 | (1) |
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The Physical Properties of Color |
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148 | (1) |
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149 | (1) |
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149 | (1) |
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150 | (2) |
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Developing Aesthetic Color Relationships |
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152 | (1) |
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Complements and Split-Complements |
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152 | (1) |
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153 | (1) |
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154 | (1) |
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Analogous and Monochromatic Colors |
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154 | (1) |
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154 | (1) |
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155 | (1) |
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156 | (5) |
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161 | (1) |
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Psychological Application of Color |
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161 | (2) |
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The Evolution of the Color Wheel |
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163 | (1) |
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The Origins of Color Systems |
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163 | (1) |
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The Discovery of Pigment Primaries |
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163 | (1) |
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The First Triadic Color Wheel |
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163 | (1) |
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163 | (1) |
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163 | (1) |
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163 | (2) |
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The Subtractive Printing System (Process Color System) |
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165 | (1) |
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166 | (1) |
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167 | (1) |
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The Discovery of Light Primaries |
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167 | (1) |
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The Role of Color in Composition |
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168 | (1) |
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168 | (8) |
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170 | (1) |
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171 | (5) |
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176 | (42) |
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178 | (1) |
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179 | (1) |
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179 | (1) |
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179 | (2) |
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179 | (1) |
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180 | (1) |
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Divisions of Plastic Space |
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180 | (1) |
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181 | (21) |
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Sharp and Diminishing Detail |
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181 | (1) |
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182 | (1) |
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182 | (1) |
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183 | (1) |
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183 | (1) |
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184 | (1) |
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Fractional Representation |
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184 | (1) |
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185 | (1) |
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186 | (2) |
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Major Systems of Linear Perspective |
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188 | (7) |
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Perspective Concepts Applied |
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195 | (3) |
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The Disadvantages of Linear Perspective |
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198 | (2) |
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200 | (1) |
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200 | (2) |
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The Spatial Properties of the Elements |
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202 | (5) |
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202 | (2) |
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204 | (1) |
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204 | (2) |
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206 | (1) |
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206 | (1) |
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207 | (11) |
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The Search for a New Spatial Dimension |
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207 | (2) |
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209 | (1) |
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Pictorial Representations of Movement in Time |
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210 | (3) |
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213 | (1) |
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214 | (1) |
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215 | (3) |
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The Art of the Third Dimension |
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218 | (28) |
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The Vocabulary of the Third Dimension |
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220 | (1) |
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Basic Concepts of Three-Dimensional Art |
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221 | (7) |
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222 | (1) |
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Other Areas of Three-Dimensional Art |
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223 | (2) |
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225 | (1) |
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225 | (1) |
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226 | (1) |
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227 | (1) |
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227 | (1) |
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227 | (1) |
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The Components of Three-Dimensional Art |
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228 | (18) |
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228 | (1) |
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229 | (1) |
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229 | (1) |
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229 | (1) |
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230 | (1) |
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The Elements of Three-Dimensional Form |
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230 | (1) |
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230 | (2) |
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232 | (2) |
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234 | (2) |
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236 | (1) |
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236 | (1) |
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237 | (1) |
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Time (The Fourth Dimension) |
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237 | (1) |
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Principles of Three-Dimensional Order |
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238 | (1) |
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238 | (2) |
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240 | (1) |
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240 | (1) |
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241 | (1) |
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242 | (1) |
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243 | (3) |
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246 | (87) |
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Introduction to Content and Style |
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248 | (1) |
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248 | (19) |
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Neoclassicism (c. 1750-1820) |
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248 | (2) |
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250 | (5) |
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255 | (1) |
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255 | (1) |
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Technological Developments in Photography |
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256 | (2) |
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258 | (4) |
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262 | (4) |
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266 | (1) |
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Early-Twentieth-Century Art |
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267 | (24) |
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267 | (1) |
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French Expressionism: The Fauves |
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267 | (1) |
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268 | (2) |
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Sculpture in the Early 1900s |
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270 | (2) |
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Expressionism in the United States |
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272 | (1) |
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272 | (1) |
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Color Photography and Other New Trends |
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273 | (1) |
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274 | (2) |
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276 | (2) |
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278 | (1) |
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278 | (1) |
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Abstract Art in the United States |
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279 | (1) |
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280 | (1) |
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Abstract and Realist Photography |
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281 | (3) |
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284 | (1) |
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284 | (2) |
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286 | (1) |
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287 | (2) |
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289 | (1) |
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Surrealism and Photography |
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290 | (1) |
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Late-Twentieth-Century Art |
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291 | (39) |
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Abstract Expressionist Painting |
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291 | (7) |
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Abstract Expressionist Sculpture |
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298 | (3) |
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Abstract Expressionism and Photography |
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301 | (1) |
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302 | (1) |
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302 | (4) |
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Happenings and Performance or Action Art |
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306 | (3) |
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309 | (1) |
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310 | (2) |
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Environmental Art and Installations |
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312 | (4) |
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316 | (1) |
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New Realism (Photorealism) |
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317 | (2) |
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Process and Conceptual Art |
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319 | (1) |
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320 | (2) |
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322 | (3) |
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Other Trends: Neo-Abstraction, Film Stills, Photography |
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325 | (1) |
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325 | (1) |
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326 | (1) |
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327 | (3) |
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330 | (3) |
| Chronological Outline of Western Art |
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333 | (5) |
| Glossary |
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338 | (5) |
| Bibliography |
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343 | (2) |
| Index |
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345 | |