The Many Ways of Seeing by Janet Gaylord Moore
**Overview of "The Many Ways of Seeing" by Janet Gaylord Moore**
"The Many Ways of Seeing" by Janet Gaylord Moore is an engaging introduction to the visual arts, crafted particularly for a juvenile audience but valuable for readers of all ages. The book is structured into ten chapters, commencing with insights on how to enhance one’s perception of visual phenomena in the world. Moore explores the impact of various artists, such as Vincent Van Gogh and Piet Mondrian, demonstrating how their works can inspire fresh perspectives on everyday objects and environments.
Central to the text are the discussions on essential visual elements like line, color, and form, which are crucial for appreciating and understanding art. The book also includes practical exercises, encouraging readers to engage directly with the artistic process through sketching and observation, fostering an “artistic eye.” Moreover, Moore delves into the historical evolution of artistic styles, emphasizing the importance of adapting one's vision in response to new art movements.
The integration of textual analysis with visual examples aims to enrich the viewer's experience not only of art but also of the surrounding world. Recognized for its clarity and sensitivity, the book stands out in the field of art appreciation literature aimed at young readers, making it a unique resource for those interested in exploring art more deeply.
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Subject Terms
The Many Ways of Seeing by Janet Gaylord Moore
First published: 1968; illustrated
Subjects: Arts and nature
Type of work: Art
Recommended Ages: 10-18
Form and Content
The Many Ways of Seeing: An Introduction to the Pleasures of Art presents its contents in several forms and sections. Following an introduction, Janet Gaylord Moore divides the subject matter into ten chapters dealing with various aspects about the visual arts, ranging from a viewer’s perceptions to the media that artists use to produce art objects. Between chapter 5 and chapter 6, an “Interlude” is inserted. This section juxtaposes reproductions of artworks with various literary quotations, which are not about the specific pieces of art but rather that serve as textual complements to the visual images. Endnotes document references in the text, and a bibliography of suggestions for further reading enables the reader to pursue topics of interest.
The first two chapters concern general aspects of perception. The author begins by suggesting ways that readers can open their eyes to visual phenomena around them. She shows how to see visual patterns in nature and how to use different perspectives to see new things in ordinary objects. Moore then turns in the second chapter to various artworks to demonstrate how artists and their artworks help one to see the world with a fresh vision. For example, many modern paintings such as the rectangular blocks of color painted by the Dutch artist Piet Mondrian have influenced the modern design of everyday objects.
The third chapter turns to paintings and offers some guidance about how to approach looking at these visual images. Moore uses the example of landscapes by two late nineteenth century artists, Vincent Van Gogh and Paul Cézanne. Van Gogh’s paintings are direct and vibrant, while Cézanne’s depiction of similar landscapes are more carefully orchestrated and controlled through his use of planes of color to construct the formal elements of the landscape.
The fourth chapter goes into more detail about the visual elements that artists use to create their artworks. Moore concentrates on three key features: line, color, and form. Line is basic because it can be used to define images. Different artists use line almost like a signature, with variations from very clean lines to ones that are filled with energy. She explains the basic elements of color, the primary and secondary colors. In addition, she shows how variations in lightness and darkness of color are called values. Form has two chief meanings: It can be understood as shape, and it can refer to the formal composition of an artwork that places its visual elements in relation to one another.
In the fifth chapter, Moore confronts the important question of why new styles of art challenge the viewer. She reviews briefly the many changes in artistic styles that have succeeded one another, from the mid-nineteenth century to the 1960’s. In every case, a new art movement such as Impressionism seemed very daring and different to the public at the time, whereas now such styles are well accepted. Moore implies that part of the function of art is to lead one constantly to see things in new ways.
With this background in the basics of art appreciation, Moore turns in the sixth chapter to some exercises that readers can do in order to experiment for themselves with some of the artistic elements. She begins with some ideas for drawing and then moves on to textures, shapes, and composition. She also suggests that students take sketch books to art museums to work in front of artworks—not to copy them exactly, but to think about some of the visual elements that these works display. The purpose of these activities is to develop one’s artistic eye through “hands-on” contact with the practice of art.
After a brief discussion of the possibilities of collecting artworks in chapter 7, Moore presents in chapter 8 an explanation of the various materials and techniques that artists have used over the centuries. She concentrates on drawing, painting, printmaking, and sculpture. In every case, knowing about these materials helps the viewer understand the visual effects that are possible with each medium.
The last two chapters return to the themes relating to the idea of looking at the world with a perceptive eye that were considered at the beginning of the book. The ninth chapter suggests that students keep sketch books or visual journals, particularly when they might be traveling and experiencing new visual sensations. The tenth chapter again juxtaposes patterns in nature with artworks to show how the special way in which artists present their visual ideas may help viewers sharpen their visual senses not only when looking at art objects but also when experiencing the world on an everyday basis.
Critical Context
Janet Moore’s method of teaching art arises out of her experiences as an artist, art teacher, and education curator in the Cleveland Museum of Art. In addition to The Many Ways of Seeing, she has written The Eastern Gate: An Invitation to the Arts of China and Japan (1979). Both books provide introductions to aspects of the visual arts for young people.
While The Many Ways of Seeing is intended to instill an appreciation of art in a juvenile audience, it is useful for anyone who is interested in learning about how to look at art. The book has been successful, and it was named a Newbery Honor Book by the American Library Association. Critics have praised the book for the clarity with which Moore presents her ideas and material. The Many Ways of Seeing has a sensitivity and simplicity, but it never talks down to the reader, whether juvenile or adult. The integration of the text and the illustrated artworks has also been cited as a strength of this book.
A number of books are currently available whose subject is art appreciation. Most, however, are intended as textbooks for courses at the college level or for adult readers who desire an introduction to the visual arts. The Many Ways of Seeing remains one of the few books whose primary audience is young people. Its combination of textual discussion and visual exercises is almost unique and well-suited to involve young people directly in the creative process of art.