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| List of figures | |
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| List of plates | |
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| Preface | |
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| Introduction to the second edition | |
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| Introduction | |
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| Composition | |
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| Introduction | |
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| Horizontals and verticals | |
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| Harmony and balance | |
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| Rhythm and the spaces between objects | |
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| Curves and diagonals | |
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| Colour | |
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| Asymmetry | |
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| Apparently random composition | |
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| Collage | |
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| Composition and installation | |
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| Conclusion | |
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| Space | |
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| Introduction | |
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| Linear perspective | |
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| Geometrical space | |
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| Imaginative space and illusionism | |
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| Aerial perspective | |
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| Space to walk about in: landscape | |
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| Spatial distortion: ignoring the middle distance | |
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| Multiple-viewpoint perspective | |
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| Space in front of the picture | |
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| Spatial disorientation | |
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| Historical and memorial space | |
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| Conclusion | |
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| Form | |
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| Introduction | |
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| Sculptural form in the human figure | |
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| Form achieved by chiaroscuro and sfumato | |
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| Form made tangible | |
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| The disintegration of form | |
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| The rebuilding of form | |
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| Form created with colour | |
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| Form and scale | |
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| The closing of the gap between painting and sculpture in the twentieth century | |
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| Conclusion | |
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| Tone | |
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| Introduction | |
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| Tone used to create drama | |
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| Tone and the expression of emotion | |
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| Tone and the realisation of form and space | |
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| Tone used to create atmosphere | |
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| Tone and the reconstruction of form | |
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| The use of chalk and blackboard to manipulate tone | |
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| Conclusion | |
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| Colour | |
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| Introduction | |
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| The use of colour to express emotion | |
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| Colour and the power of suggestion | |
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| The power of colour to disturb the emotions | |
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| The power of colour to express emotion without a figurative subject | |
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| Colour and scale | |
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| Colour and the expression of texture | |
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| The use of coloured light for expression | |
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| Conclusion | |
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| Subject-matter | |
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| Introduction | |
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| Religious subjects | |
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| Mythological subjects | |
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| Historical subjects | |
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| Scenes of everyday life with a moral | |
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| Literary subject-matter | |
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| The significance of the intended setting for a picture and the role of restoration | |
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| Subject-matter and image making: clarity and ambiguity in communicating a message | |
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| Subject-matter and the idea of abstraction | |
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| Subject-matter and interpretation | |
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| Poetical subjects | |
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| Subject-matter and the idea of painting as poetry | |
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| Conclusion | |
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| Drawing and its purposes | |
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| Introduction | |
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| Drawing used to try out ideas | |
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| Drawing and sculptural expression | |
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| Landscape drawings | |
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| Topographical drawings and watercolours | |
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| Line drawing | |
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| Individual drawing techniques in the twentieth century | |
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| Conclusion | |
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| Looking at prints | |
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| Introduction | |
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| The exploitation of detail: line engraving, woodcut and wood engraving | |
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| The creation of mystery and ambivalence by means of tone | |
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| The development of a print from its original drawing: etching and aquatint | |
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| Lithography | |
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| The coloured lithography | |
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| Silk screen printing and the use of modern printing techniques | |
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| New ways of making prints and the impact of digital technology | |
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| Conclusion | |
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| Conclusion: the use of comparison as an aid to looking | |
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| Some questions to ask yourself when standing in front of a painting | |
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| Glossary of some art terms | |
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| References and further reading | |
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| Index | |