Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
Italic page numbers refer to figures in the text.
abstract art
differing responses to abstract and figurative art,
58,
141,
178–183
as an event rather than a picture,
11
and processing of color,
39
Afrum 1 (White) (Turrell),
160,
161
and aggression and sexuality,
96,
97
and central nervous system,
35–37
modification of the functional architecture,
55–57
preconscious mental processes,
184–185
separate processing of color and form,
143,
146
Broadway Boogie Woogie (Mondrian),
83,
85,
91
Calais Pier (Turner),
62,
63,
64
color
as property of the brain rather than the outside world,
150,
154
and technological breakthroughs of the 19th century,
146
color-field painting,
12–13,
87–88,
123–141,
178.
See also Frankenthaler, Helen;
Louis, Morris;
Martin, Agnes;
Newman, Barnett;
Noland, Kenneth;
Rothko, Mark
Composition No. II Line and Color (Mondrian),
81
Composition No. III with Red, Blue, Yellow, and Black (Mondrian),
84
Composition #16 (Pollock),
105
construal-level theory,
185
cortical representation,
56
Couple Kissing (Rothko),
124,
126
de Kooning, Willem,
5,
58,
74,
88–90,
88–101,
92–93,
99–100,
116–119,
119,
188
influence on other artists,
165
and New York School,
9,
14,
87
de Menil, John and Dominique,
128,
130
Le Déjeuner sur l’
Herbe (Monet),
66,
67
The Diagonal of May 25, 1963 (Flavin),
155,
157
dopaminergic modulatory system,
38,
38
Double Portrait of Robert Rauschenberg (Katz),
167
electromagnetic spectrum,
145
aggression and sexuality,
93–98
and the beholder’s gaze,
18,
180
and color-field painting,
123,
141
erasing emotion through serialization,
171
The Expression of Emotions in Man and Animals (Darwin),
30–31
face processing region,
31
powerful responses to exaggerated features,
32–33,
33,
35,
109
social significance of faces,
30–31
Federal Art Project,
14,
132
differing responses to abstract and figurative art,
58,
141,
178–183
reliance on bottom-up processing,
22,
109,
114
Frankenthaler, Helen,
130,
134
Gestalt rules of organization,
20
gill withdrawal reflex,
50,
51,
54
Green by Gold (Louis),
135
Helmholtz, Hermann von,
21,
23
icon V (Coran’
s Broadway Flesh) (Flavin),
156,
157
Impression, Soleil Levant (Monet),
68,
68–69
inferior medial temporal lobe,
30
inferior temporal cortex,
28,
30,
31,
57,
112,
113,
113,
116,
146,
147
Joan (Walker 44) (Katz),
166
lateral geniculate nucleus,
27,
27,
38
lateral occipital cortex,
37,
38
classical conditioning as form of associative learning,
52–54
sensitization as form of nonassociative learning,
52
brain’s response to,
80–83
and New York School,
9,
14
makeup, and women’s faces,
35
Marilyn Monroe Pink Fluorescent (Warhol),
169
medial occipital cortex,
37
medial prefrontal cortex,
184
formation of short- and long-term memory,
51,
52–54,
54,
112
implicit and explicit memory,
46–47
location and storage of,
46–51
Mondrian, Piet,
5,
10,
77–85,
78–81,
84–85,
87,
91,
178–179,
182
Monument for V. Tatlin (Flavin),
156,
158
Murnau with Church I (Kandinsky),
71,
72
influence of,
14,
77,
168 (
see also specific artists)
and reductionism,
5,
9,
177 (
see also specific artists)
and Washington Color School,
134
#36 Black Stripe (Rothko),
129,
150
orbitofrontal cortex,
148
Our Lady Full of Grace of the Plateau d’Assy Chapel,
128
Parting of Waters (Louis),
139
and ambiguity,
18,
20,
21,
110–112,
114,
116–122,
117–118,
148,
150–154,
152–153
differing responses to abstract and figurative art,
58,
141,
178–183
distinction between sensation and perception,
111,
114
and learning and memory,
45,
50,
57
peripheral nervous system,
36
Pink Angels (de Kooning),
90,
91
Pissarro, Camille,
13,
67
and the deconstruction of easel painting,
101–108
portraiture
posterior cingulate cortex,
183
Ramón y Cajal, Santiago,
47
Red Gaze (Schoenberg),
74,
75
reductionism
and emergence of abstract art,
61–76
and learning and memory,
45–55
Rembrandt, self-portrait of,
31,
32
Renoir, Pierre-Auguste,
67
Roosevelt, Franklin D.,
14
Rothko, Mark,
5,
123–131,
124–127,
129,
131,
150,
178,
179,
182
influence on other artists,
130,
134
and New York School,
9,
14,
87
Schrödinger, Erwin,
41–42
Sketch for Composition V (Kandinsky),
71,
72,
73
structural organization of the nervous system,
35,
36
superior parietal cortex,
114
The Tea Cup (Pollock),
102,
104
temporal lobe,
28,
30,
31,
46,
57,
112–114,
113,
116,
146–148,
183
Thinking (Schoenberg),
74,
76
Third Element (Louis),
140
and learning and memory,
43–58
and suppression of irrelevant information,
23
Two Trees on Mary Street . . .
Amen! (de Kooning),
98,
99
Untitled (Sculptural Study, Seven-part Right-angled Triangular Construction) (Sandback),
181
Untitled (Two Women) (Louis),
133
Venus of Hohle Fels,
94,
94
distinction between sensation and perception,
111,
114
and learning and memory,
45
organization of the visual system,
26–30,
27
and
what pathway/
where pathway,
26–29,
27,
38
Washington Color School,
134
The Water Lily Pond (Monet),
70
Windmill in the Gein (Mondrian),
77,
78
Woods Near Oele (Mondrian),
77,
79