. Horses and movement, from paintings and drawings by. Horses; Animals in art; Action in art. 14 HORSES AND MOVEMENT even of those really interested in Art, have troubled to consider it. Movement implies change, and our perception of movement depends upon noting and comparing changes. of shape, tone or colour in a series of visual impressions, just as our sense of music depends upon the com- parison of a series of momentary sounds. If sensation did not endure after the stimulus that created it has ceased, we should be incapable of per- ceiving change, and we should be sensible only of the impr
. Horses and movement, from paintings and drawings by. Horses; Animals in art; Action in art. 14 HORSES AND MOVEMENT even of those really interested in Art, have troubled to consider it. Movement implies change, and our perception of movement depends upon noting and comparing changes. of shape, tone or colour in a series of visual impressions, just as our sense of music depends upon the com- parison of a series of momentary sounds. If sensation did not endure after the stimulus that created it has ceased, we should be incapable of per- ceiving change, and we should be sensible only of the impression of the actual moment, disconnected from all that comes before or after, seeing, like the photo- graphic plate, only the separate attitudes of which the movement is composed, and never receiving the generalized impression which means seeing movement. Our perception of movement, then, is created by an act of recollection and is dependent on memory. Con- sequently it can only be drawn from recollection. In this the drawing of movement differs essentially from other forms of memory work. Artists, of course, constantly work from memory when dealing with fugitive effects of light, colour, grouping. They do so because such effects, though stationary, are of such brief duration that they do not allow sufficient time in which to record them on the spot. A group of figures, for instance, if only it would remain unaltered for a considerable length of time, could be painted directly, as the still-life painter paints his subjects, but the artist knows from experience that the group may at any moment be broken up by the movement of the individuals that compose it, so that he may think it wiser, instead of spending any of the precious seconds on the act of drawing, to devote them all to observing and storing up an impression from which he can work later. In such a case, to work from memory is merely the. Please note that these images are extracted from scanned page images that may have
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Keywords: ., bookcentury1900, bookdecade1920, booksubjectan, booksubjecthorses
