Two areas that help create the illusion are stillness and arrested motion. Although they sound similiar, they are different in the way of arrested motion being a capture of motion in action that causes the viewer to feel a sense of motion about the image. Stillness, however, tends to be much less dynamic (paralysation of velocity) and more natural. Thus, our understanding of motion in painting, or, painterly motion simply consists of the human perception. The motion we see does not exist within our perception. The 'likelihood principle' is an explanation of how we interpret. The principle created by Gestalt psychologist Helmholtz implies a perceptual commonality at the heart of all perceptual interpretations: we perceive that which would in our normal life most likely have produced the effective stimulation we have received. What we see results from an internal comparison between immediate sense experience and prior knowledge. Our perceptual understanding of virtual motion derives from encounters with reality, it is real in perceptual terms.
Painterly motion as a technical phenomenon requires some explanation. The painted image has possibilites that photography lacks. The photograph is static, It 'arrests' the subject imaged, presenting a single moment from all possible moments of the subject in motion. The motion, however, is absent. Taken as a whole, it is presented within the idea of motion. But for painterly motion, we interpret displacement and distortion in the painting as motion. Based on these explanations, we can say that an arrested motion transforms into a painterly motion when painting, it is interpreted in the artist's perceptual terms and it causes distortion, both to the viewer and the artist. This interpretation provides a natural sense of motion and stillness and eventually a new way of seeing. As definitions, arrested motion and stillness are a little different than each other but i believe that when painting, they may transform into one another.
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