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(43) Arnheim, op. cit, P. 118-128.
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(53) Ibid, P. 667-668.
(54) Roger, C. Towards a Theory of Creativity, in: Creativity, ed. by P.E. Vernon.
(55) Rogers, Ibid.
(56) Cofer & Appley, op. cit, PP. 668-670.
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(59) Maddi, S.R. Motivational Aspects of Creativity, J. of Personality, 1965, Vol 33, 3, 330-340.
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(61) Mc Guigan, F. Cognitive Psychophysiology, New Jersey Prentice-hall, 1978, P.38.
(62) Ibid., P. 61.
(63) Beck, R.C. Motivation. Theoris and Principles, New-Jersey: Prentice-Hall, 1978, P. 252.
(64) Bolton, N. The Psychology of Thinking, London: Methuen & Co. Ltd., 1976, P. 186.
(65) Whilfield, R.R. Creativity in Industry, London: Penguin Books, 1978, P.8.
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248



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(67) Whitfield, op.cit., P.8.
(68) Bolton, op. cit., P.194.
(69) Cropley, op.cit., P.132.
(70) Ibid., P. 119.
(71) Bolton, op.cit., PP. 190-96.
(72) Cropley, op.cit., P.120.
(73) Stein, M. Stimulating Creativity, Vol. 2, New York: Academic Press, 1975, 223-224.
(74) Ibid, P. 27.
(75) Ibid, P.199.
(76) Stein, 1974, PP. 19-39.
(77) Gogh, V.V. The Letters of Van Gogh, ed. by M. Roskill, London: Fontana, 1974, P. 202.
(78) Ibid, P. 215.
(79) Gogh. V.V. Letter to Anton Ridder Van Rappard, in: The Creative process, ed., by B. Ghiselin,
1952, P. 55.
(80) Gogh, op.cit., P. 167.
(81) Gogh, op.cit., P. 241.
(82) Gogh, op.cit., P. 227.
(83) Gogh, op.cit., P. 236.
(84) Gogh, op.cit., P. 287.
(85) Matisse, H. Matisse on Art. ed. by J.D. Flam, Oxford: phaidon, 1978, P. 38.
(86) ibid., P. 148.
(87) ibid., P. 36.
(88) ibid., P. 35.
(89) ibid., P. 38.
(90) ibid., P. 33.
(91) ibid., P. 37.
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(94) Read, H. A Concise History of Modern Painting, P. 166.
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(96) Read, H. op. cit., P. 171.
(97) Read, H. op. cit, PP. 171-172.
.( )
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(102) Lazzaro, S. Dynamic Nostalgia, in: Homage to Pablo Picasso, London: Ebling Publishing,
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(103) Picon, G. The Grand Palais 1967, In: Homage to Pablo Picasso, ed. by. Sa Lazzaro, London:
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(104) Sabartes, J. Picasso, An Intimate portrait, Translated by A. Flores, London: W.H. Allan, 1949,
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(105) Picon, G. op.cit., P. 120.
(106) Zervos, C. Conversation with Picasso, in: The Creative Process, ed. ed. by B. Ghiselin, New
York: the New Arner, Libr., 1952, 55-60.
(107) Zervos. op. cit., P. 58.
(108) Gilot, F.S. Loke,
.Life with Picasso, New York: Mc Graw-Hill, 1964, P. 122.
(109) Zervos, op.cit., P. 58.
(110) Zervos, op. cit., P. 58.
(111) Zervos, op. cit., P.59.
(112) Zervos, op.cit., PP. 55-60.
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(2) English, H.B. and English. A.C. A Comprehensine Dictionary of Psychological and
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(3) Mc Guigan, F. Cognitive Psychophysiology, New Jersey: Prentice-Hall, Inc. 1976 P. 70.

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(4) Eysenck, H.J. Psychology of Politics, London: Routledge & Kegan Paul, 1968, ch. 1.
(5) Mc Guigan, op.cit., P. 46.
(6) Berlyne D.F. Conflict Arousal and Curiosity, New York: Mc Graw-Hill, 1960, P.64.
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(9) Dali, S. Diary of Agenius, London: Pan Books Limited, 1980, PP. 19-20.
(10) Gogh, V.V. Letters of Van Gogh, ed. by M. Reskill London: Fontana, 1974, P. 295.
(11) Gogh, ibid, P. 182.
(12) Matisse, H. Matisse on Art, ed. by J.D. Flam, Oxford: Phaidon, 1978, P. 81.
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(14) Rogers, C. Towards A Theory of Creativity, in: Creativity, ed. by P.E. Vernon London:
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(15) Zervas, C. Conversation with Picasso, In: The Cteative Process ed. by, B Ghiselin, New York:
The New Arner, Libr, 1952, P. 59.
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(17) Gogh; op.cit., P. 188.
(18) Gogh, op.cit., P. 279.
(19) Thornson, op.cit., P. 157.
(20) Berlyne, op.cit., P. 270.
(21) Maddi S. Motivational Aspects of Creativity, Journal of Personality, 1965, 3, 320-347.
(22) Zervos, op.cit., P.36.
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(24) Matisse, op.cit., P.36.
(25) Gogh, op.cit., P.
(26) Read, H.A. Concise History of Modern Painting, London: Hudson & Methuen, 1980, P.12.
(27) Newton, E. The Meaning of Beauty, London: Penguin, 1962, P.13.
(28) Arnheim, R. Gestalt and Art, in: Psychology and Visual Arts. ed. by J. Hogg, London: Penguin,
1969,
(29) Gogh, op.cit., P. 29.
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(31) Ghiselin, B. The Creative Process (Introduction), New York: the New. Arner, Libr, 1952, P.20.
(32) Matisse, op.cit., P. 148.
(33) Matisse, op.cit., P.140.
(34) Matisse, op.cit., P.115.
(35) Gogh, op.cit., P.156.

251


(36) Newton, E. Art as Communication, British Journal of Aesthetics, 1961, 2, 71-85.
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(38) Davinci, L., The Notebook of Leonardo Davinci, ed. by. I-Richter, Oxford: Oxford Univesrity
Press, 1980, P.5.
(39) Toney, A. Creative Painting and Drawing, New York: Daver, 1966, P.5.
(40) Sabartes, J. Picasso, A; Intimate Portrati, Translated by A. Flores, London: W.H. Allan, 1949,
P. 48.
(41) Zevas, op.cit.
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(43) Matisse, op.cit., P. 39.
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(45) Gogh, op.cit.
(46) Matisse, op.cit., P. 66.
(47) Angelo, M. Michel Angelo, a Self Portrait, ed. by Robert S. Clements, New: Jersey: PrenticeHall Inc., 1963, P.24.
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(50) Koffka, K. Principles of Gestalt Psychology, New York: Harcaurt Broce & Co., 1935, P. 151,
P.334.
(51) Richardson, A Mental Imaginery, London: Raut Ledge & Kegan Paul, 1969, P. 123.
(52) Arnheim, R. Art and Visual Perception, Berkeley: Univ. of California Press, 1954, P.114.
(53) Gogh, op.cit., P. 242.
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(55) Gerard, R.W. The Biological Basis of Imagination, in: The Creative Process, ed. by B.
Gbiselin, P.226.
Oxford University Press, 1959, P. 242.
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(58) Angelo, op.cit., P.17.
(59) Mc Guigan, op.cit., P.60.
(60) Knowison, T.S. Originality, Philordelphia: Lippincott, 1918, P.128.
(61) Richardson, op.cit., P.119.
(62) Read, H. A Concise History of Modern Painting, P. 17.
(63) Gogh, op.cit., P. 167.
(64) Gogh, op.cit., P.187.
(65) Gogh, op.cit., P. 202.
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(75) Read, H. The Meaning of Art, London: Penguin, 1963, P. 46.
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(77) Gogh, op.cit., P. 158.
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(79) Zervos, op.cit., PP. 55-60.
(80) Matisse, op.cit., P.116.
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(82) Mc Kenzie, A.E. Light, Cambridge: University Press, 1955, P. 122.
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(87) Schwarz, op.cit., P.8.
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(89) Ruskin, J. The Elements of Drawing. New York: Dover, 1971, P. 161.
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(97) Ruskin, op.cit., PP. 164-200.
(98) Arnheim, op.cit., P.378.
(99) Berlyne, Conflict Arausol and Curiosity, PP. 280-281.
(100) Thomson, The Psychology of Thinking, P. 19.

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(101) Gogh, op.cit., P. 187.
(102) Gogh, op.cit., P. 179.
(103) Gogh, op. cit., P. 122.
(104) Coleridge, S.T. Prefatory Note to Kubla-Khan, in: The Creative Process, ed., by B. Ghiselin,
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(107) Dali, S. Diary of a Gerius, London: Pan Books Limited.
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(108) Ghiselin, B., The Creative Process, P. 28.
(109) Gogh, op.cit., P.15.
(110) Gogh, op.cit., P.152.
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(112) Angelo, op.cit., P.16.
(113) Ghiselin, op.cit., P.29.
(114) Matisse, op.cit., P. 74.
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(116) Sessions, R. The Composer and His Message, In: The Creative Process, ed. by: By Ghiselin,
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(117) Matisse, op.cit., P. 36.
(118) Read, H. A Concise History of Modern Painting, P.36.
(119) Berlyne, Aesthetics and Psychobiology, New York: Meredith Corporation 1971, P. 173.
(120) Matisse, op.cit., P.81.
(121) Lowenfield, op.cit., P.4.
(122) Read, H. The Meaning of Beauty, P. 196.
(123) Koffka, op. cit., PP. 654-664.
(124) Gogh, op. cit., P. 155.

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(5) Gibson, J.J. The Information Available in Pictures, Leonardo, 1971, 4. PP. 27-35.

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P.17.
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(15) Read, op.cit., P.16.
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(19) Read, op.cit., P. 108.
(20) Leger, F. The Functions of Painting, London: Thomas and Hudson, 1973, P. 82.
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(22) Gasset, O.Y. Velosquez, Goya and the Dehumanization of Art, London: Studion Vista, 1972,
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(25) Read, op.cit., P.210.
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(31) Arnheim, R. Art and Visual Perception a Psychology of the Creative eye, Berkeley: Univ. of
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