On the Wisdom of Words by Geoffrey Wagner (review)

Books-Livres 247 revealed in the letters of Vincent Van Gogh. Miss #Arbeloff introduces her readers to this stage of the artist’s development by including her selection of writings by contemporary artists on both sides of the Atlantic. Although they do not always make us understand any better the paintings whose reproductions accompany the quotations, they do succeed in emphasizing the sincerity and high intentions of all the artists who have contributed. And students would do well to follow her in making a selection of texts. The format of the workbook is well designed, clear and attractive. Miss d’Arbeloff presents her own ideas and suggestions in a logical, purposeful and stimulating way, which should provide much thought and discussion for teachers and students alike. There is also a most useful index of materials and suppliers, incorporating information about the many new design and graphics aids, which are such a feature of this book and may be unfamiliar to many of its readers. Graphic Perception of Space. Frank Mulvey. Studio Vista, London, 1969. 96 pp., illus., 30s. Reviewed by: Jen Nkmeth* At this moment in our epoch, space, as experienced by man, has expanded tremendously through the development of astronautics. Therefore, considerations of virtual space or illusions of space in GraphicPerceptions of Space might seem a waste of time but, on the contrary, they are still of vital importance in graphic art and design. Attacks on ‘canvas’ art have led to two basic results: more artists’ production of art in three dimensions and a search for new viable ways of giving an illusion of space on a flat surface. It is interesting to note that a very large canvas gives a spatial experience, for the viewer cannot grasp its contents as a whole. If one uses words in the sense that the author does, then his book might be entitled Perception of Graphic Space. And, since the author’s intention was to provide a handbook of the means of graphic space representation the title could well have been the Graphic Evocation of Perceived Space. What, indeed, is the range of an artist’s twodimensional ‘space’? First, there is the flat surface that has only height and breadth, which, in context, are often undefined. Examples are paintings with fragmentary notations, say, of Jackson Pollock. The middle range consists of a limited illusion of space that is achieved by such means as relative size, overlap and transparency. It is with this part of the range that the author is concerned. His obvious oversightsarethe use ofcolour and the three kindsofperspective-aeriel, isometricprojection and simultaneous perspective (e.g. cubism). The third part of the range involves illusions of deep to *20 Central Heights, London, N.W. 3, England. infinite space through the use of one-point perspective and reflecting surfaces. Mulvey’s presentation methods of self-instruction , question and answer, and over-teaching are valid, however, the number and the character of the examples provided for the various ways of giving an illusion of space can be criticized. Moreover, a judicious selection of classicalexampleswould have improved the lessons. Even without discussing the implications of colour, reproductions of, for example, Franz Kline, Pollock and Malevitchwould have been helpful, for their works have added to our comprehension of how visual space clues operate. My criticism of the book is not directed at what the author has included but to what he has omitted. At a time when we are so information conscious, this is a serious charge. On the Wisdom of Words. Geoffrey Wagner. George Allen & Unwin, London 1968. 345 pp., 40s. Reviewed by :James W. Davis* It is the contention of Geoffrey Wagner that the prime function of language is to confer ‘meaning on our universe’. This is one of its commonly accepted functions. His main contribution lies in his particular way of presenting and reinforcing this idea. There are elemental meanings of words in a language that are indigenous or innate. They are exposed through every-day usage. Wagner’s exploration stems from the basic behaviorist theory which posits that context determines the meaning of a word and that the associative nature of a word labels or assimilates something else. Words are reviewed as...