Portrait of the Artist by Harmensz van Rijn Rembrandt
64.
Panel (3) by Wassily Kandinsky
65.
Composition in White, Black and Red by Piet Mondrian
66.
Guernica by Pablo Picasso
67.
Person Throwing a Stone at a Bird by Joan Miro
68.
Threading Light by Mark Tobey
69.
Birds by Gaitonde
70.
Feeding the chicks
Preface
AS A YOUNG student of philosophy in London in 1925, I was much preoccupied with the problem of perception. All the old ideas were in question. And I found that the psychology of perception was adopting revolutionary hypotheses, outdating most of the 19th-century concepts under the influence of scientific investigation. Lord Russell's reductio ad obsurdum of every percept to "sensation," based on sense data, held sway in philosophical discussion; and Clive Bell's "aesthetic emotion," to be derived from "significant form," were the slogans of the English art world. Of course, in ordinary
