100 books like Art and Visual Perception

This book, originally published in French in 1927 (and now at long last translated into English by psychologist Alan Costall), is the earliest systematic analysis of the odd, nonrealistic features of children’s drawings, and the first to argue against those who considered these oddities as defects to be overcome. Instead, children’s drawings at different stages are shown to have their own logic and intelligence. Luquet opposed any kind of intervention or correction by adults, which he felt might destroy children’s love of drawing. He took children’s drawings seriously, never dismissing them in terms of what they lacked. This highly readable book, with its wonderful illustrations revealing the logic of children’s drawings, has had an enormous influence on how psychologists understand child art.    

Most studies of child art describe development towards realism. Artful Scribbles is one of the first accounts to focus on the expressiveness and aesthetics of child art. Developmental psychologist Howard Gardner discusses in depth the puzzle of why the flowering of children’s art (as valued in the West in the last century) does not last. While drawings of 8- or 9-year-olds are more realistic and “accurate” than those of preschoolers, they seem to have lost the exploratory freshness of the art of younger children. This is one of the earliest studies of children’s art to take seriously the idea of the child as an artist and to consider the relationship between child art, modern art, and the art of adolescents and of mature artists.  

This book by art historian Jonathan Fineberg will open your eyes to the fundamental connections between young children’s art and the art of famous 20th century modern artists like Vasily Kandinsky, Paul Klee, Joan Miró, Pablo Picasso, and others. You might be surprised to learn that many of these artists collected children’s drawings and were profoundly influenced by child art. This book will help you understand the images that inspired these modern masters. It will change how you look at both modern art and child art,  and you will come away with a greater appreciation of both.

Nadia was a severely autistic and mentally challenged child who, at age 3, drew horses that in important respects rivalled those by Leonardo da Vinci. Nadia was clearly a case of “savant syndrome” – an individual severely impaired in most areas but with one island of genius-level skill. Psychologist Lorna Selfe first wrote about this amazing case in 1977. In 2011, Selfe tells us what happened to Nadia’s drawing ability as she grew older and why her drawings regressed sharply to a more primitive level. This book will introduce you to the many theories put forth to explain this strange almost eerie phenomenon. It will help you think about the difference between artistic giftedness in the context of autism and mental challenges versus such giftedness in the context of an otherwise typically developing child.

Ernst Gombrich's masterpiece, published in 1960 and still in print, follows the drive in Western Art from Ancient Greece and Egypt to the present day, to achieve the illusion of realistic appearance in pictures. Kenneth Clark, himself a most accomplished art historian and writer, described Art and Illusion as 'One of the most brilliant books on art criticism I have ever read." I too admire the way the book combines great erudition with a clear conversational style and an ability to move beyond the usual confines of art history. Gombrich uses findings from psychology to illuminate his argument, supported with a surprising range of illustrations, not just from the fine arts, but from advertising, photography, caricature, and cartoons. Brilliant indeed.

This book outlines how the visual field operates at a psychological level.

I am an architect and cannot believe that we don’t teach straight from this and other Arnheim books more often. If you want to know what is happening to you, why you get chills up your spine when looking at art, read this book.

Arnheim is a psychologist, not a designer, so he breaks art down from this perspective.

This is a book of essays about the act of looking, especially looking at photographs and paintings and animals and other people. Thus these are essays about history, memory, suffering, beauty, and the self. Berger had a generous spirit; he wrote often about the lives of peasants and spent the last forty years of his life in rural France. Berger gazed upon the world in all its forms with composure and curiosity. 

Crary’s work provides a theoretical and empirically informed synthesis of the work of theorists like Berger, Debord, Baudrillard, Barthes, and Sontag. Like these earlier writers, the technological transformations of visual culture are at the heart of the social transformations of the modern world. To understand modernity is thus first to make sense of its visual logics, procedures, and practices. This general argument allowed the author to enter the granular historical details of how seeing and 'observation’ have become essential to the concerns of modern life. What he calls 'techniques of the observer’ are in fact the core sensory apparatus that has helped to shape the institutions and practices of modern life.

What can be visualized is correlated to the technical affordances and historical development of representational practices. This makes technologies of the visual central to social analysis. Some of the most powerful drivers of modern life are thus linked to… show more.

For me, thinking about blindness and the brain all started with an essay by Oliver Sacks called “To See and Not See” (An Anthropologist on Mars). In The Mind’s Eye Sacks picks up some of the threads of that earlier essay and goes deep into how seeing is not just a matter of having functioning eyes. From the pianist who could  suddenly no longer read music to blind people (like myself) who still consider themselves very visual, these neurological tales are intellectually intriguing and emotionally compelling. Sacks even includes his own journal of vision loss as one of the case studies. But whether he is the patient or the doctor, his distinct voice and personal connection to his subject matter has had a huge influence on my own writing.

If you think you can’t draw, then read this book! It’s a bible for anyone wanting to draw, and is by all accounts “the world's most widely used drawing instruction book.” If you want to start drawing or have been unable to get much beyond a “childlike level,” the exercises in this book will help you gain those skills you have always sought.

I often use the “Upside down Drawing” exercise with my portrait classes; my students are usually astounded at how quickly and accurately they can produce a likeness! This is a fascinating book and whether you are an experienced artist or just starting, it will give you inspiring confidence and deepen your artistic perception.