TY - JOUR
AU - Ushenko, A. P.
AB - A. P. Ushenko 1 INTRODUCTION A suggestion and a display of movement in painting are not one and the same thing. Movement is suggested by clues, for example by the bent knee of a figure representing a runner, or as in some familiar Degas, by the outstretched arms of a pivoting dancer. The fewer the clues the less impressive the suggestion—as may be seen in the failure of the commercial artist commissioned to picture a moving automobile. The firm, determined to have the object portrayed in all its detail, will not let the spokes of the wheel be blurred, and the omission of this important clue to motion, with hardly another possible, turns the poster into an image of an immobile car. Unless there is some support from enacted motion the representation of movement by suggestion is still very ineffectual because the suggestion is thwarted by a manner of representation which brings into vision a single 'slice of movement'. The deadening effect of immobility noticed in photographs is not much worse than that of a 'slice of movement' in a work of art. To counteract the impression of immobility the artist must strengthen the suggestion given by clues with 
TI - PICTORIAL MOVEMENT**
JF - The British Journal of Aesthetics
DO - 10.1093/bjaesthetics/1.2.44
DA - 1961-03-01
UR - https://www.deepdyve.com/lp/oxford-university-press/pictorial-movement-5d6VpwmLAm
SP - 44
EP - 61
VL - 1
IS - 2
DP - DeepDyve
ER -