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| psychology of art: The Psychology of Art George (University of Lincoln Mather, UK), George Mather, 2020-10-08 Why do we enjoy art? What inspires us to create artistic works? How can brain science help us understand our taste in art? The Psychology of Art provides an eclectic introduction to the myriad ways in which psychology can help us understand and appreciate creative activities. Exploring how we perceive everything from colour to motion, the book examines art-making as a form of human behaviour that stretches back throughout history as a constant source of inspiration, conflict and conversation. It also considers how factors such as fakery, reproduction technology and sexism influence our judgements about art. By asking what psychological science has to do with artistic appreciation, The Psychology of Art introduces the reader to new ways of thinking about how we create and consume art. |
| psychology of art: How Art Works Ellen Winner, 2019 How Art Works explores puzzles that have preoccupied philosophers as well as the general public: Can art be defined? How do we decide what is good art? Why do we gravitate to sadness in art? Why do we devalue a perfect fake? Could 'my kid have done that'? Does reading fiction enhance empathy? Drawing on careful observations, probing interviews, and clever experiments, Ellen Winner reveals surprising answers to these and other artistic mysteries. We may come away with a new understanding of how art works on us.--Jacket. |
| psychology of art: The Psychology of Artists and the Arts Edward W.L. Smith, 2014-01-10 This book offers the first comprehensive examination of the psychodynamic theories of artistic creativity and the arts. Neither oversimplifying the complexity of these theories, nor bogging down in pedantic discourse, it honors the depth and richness of the work of Freud, Adler, Kris, Reich, Jung, and several lesser-known theorists, while making their theories readily accessible to the educated reader. After discussing the role of theory, the work offers each concept as a readily usable template for describing and understanding a work of art, whether painting, sculpture, music, dance, film, poetry, or prose. With these theories at hand, anyone interested in the arts will possess a far richer vocabulary for describing the artistic experience and a deeper understanding of the artist's creativity. |
| psychology of art: The Psychology of Visual Art George Mather, 2014 A contemporary and interdisciplinary perspective on the study of art, connecting and integrating ideas from across the humanities and sciences. |
| psychology of art: Art and Expression Alberto Argenton, 2019-05-29 Perception of expression distinguishes our cognitive activity in a pervasive, significant and peculiar way, and manifests itself paradigmatically in the vast world of artistic production. Art and Expression examines the cognitive processes involved in artistic production, aesthetic reception, understanding and enjoyment. Using a phenomenological theoretical and methodological framework, developed by Rudolf Arnheim and other important scholars interested in expressive media, Alberto Argenton considers a wide range of artistic works, which span the whole arc of the history of western graphic and pictorial art. Argenton analyses the representational strategies of a dynamic and expressive character that can be reduced to basic aspects of perception, like obliqueness, amodal completion, and the bilateral function of contour, giving new directions relative to the functioning of cognitive activity. Art and Expression is a monument to the fruitful collaboration of art history and psychology, and Argenton has taken great care to construct a meaningful psychological approach to the arts based also on a knowledge of pictorial genres that allows him to systematically situate the works under scrutiny. Art and Expression is an essential resource for postgraduate researchers and scholars interested in visual perception, art, and gestalt psychology. |
| psychology of art: The Psychology of Art Lev S. Vygotsky, 1974-09 |
| psychology of art: Toward a Psychology of Art Rudolf Arnheim, 2010-08-13 Psychology. |
| psychology of art: The Psychology of Contemporary Art Gregory Minissale, 2013-10-10 While recent studies in neuroscience and psychology have shed light on our sensory and perceptual experiences of art, they have yet to explain how contemporary art downplays perceptual responses and, instead, encourages conceptual thought. The Psychology of Contemporary Art brings together the most important developments in recent scientific research on visual perception and cognition and applies the results of empirical experiments to analyses of contemporary artworks not normally addressed by psychological studies. The author explains, in simple terms, how neuroaesthetics, embodiment, metaphor, conceptual blending, situated cognition and extended mind offer fresh perspectives on specific contemporary artworks - including those of Marina Abramović, Francis Alÿs, Martin Creed, Tracey Emin, Felix Gonzales-Torres, Marcus Harvey, Mona Hatoum, Thomas Hirschorn, Gabriel Orozco, Marc Quinn and Cindy Sherman. This book will appeal to psychologists, cognitive scientists, artists and art historians, as well as those interested in a deeper understanding of contemporary art. |
| psychology of art: New Essays on the Psychology of Art Rudolf Arnheim, 2023-04-28 Thousands of readers who have profited from engagement with the lively mind of Rudolf Arnheim over the decades will receive news of this new collection of essays expectantly. In the essays collected here, as in his earlier work on a large variety of art forms, Arnheim explores concrete poetry and the metaphors of Dante, photography and the meaning of music. There are essays on color composition, forgeries, and the problems of perspective, on art in education and therapy, on the style of artists' late works, and the reading of maps. Also, in a triplet of essays on pioneers in the psychology of art (Max Wertheimer, Gustav Theodor Fechner, and Wilhelm Worringer) Arnheim goes back to the roots of modern thinking about the mechanisms of artistic perception. Thousands of readers who have profited from engagement with the lively mind of Rudolf Arnheim over the decades will receive news of this new collection of essays expectantly. In the essays collected here, as in his earlier work on a large vari |
| psychology of art: Art and Visual Perception, Second Edition Rudolf Arnheim, 2004-11-08 Gestalt theory and the psychology of visual perception form the basis for an analysis of art and its basic elements. |
| psychology of art: The Cambridge Handbook of the Psychology of Aesthetics and the Arts Pablo P. L. Tinio, Jeffrey K. Smith, 2014-10-30 The psychology of aesthetics and the arts is dedicated to the study of our experiences of the visual arts, music, literature, film, performances, architecture and design; our experiences of beauty and ugliness; our preferences and dislikes; and our everyday perceptions of things in our world. The Cambridge Handbook of the Psychology of Aesthetics and the Arts is a foundational volume presenting an overview of the key concepts and theories of the discipline where readers can learn about the questions that are being asked and become acquainted with the perspectives and methodologies used to address them. The psychology of aesthetics and the arts is one of the oldest areas of psychology but it is also one of the fastest growing and most exciting areas. This is a comprehensive and authoritative handbook featuring essays from some of the most respected scholars in the field. |
| psychology of art: Art Therapy and Psychology Robert Gray, 2019-03-08 Taking an interdisciplinary approach, Robert Gray offers a thorough and well-rounded clinical guide to exploring the depth of the unconscious through art in psychotherapy. He emphasises the clinical relevance of art therapy and critically highlights ideas around evidence-based practice and the link to cognitive behavioural therapy. Gray suggests specific ways of engaging with clients and their images, such as uncovering life scripts, changing neural pathways through Creative Mind Ordering, and addressing traumatic experiences through the Jungian Self- Box. He shows how artists and psychotherapists can make a transformational difference by combining ‘art as therapy’ and ‘art in therapy’ with a scientific approach and a spiritual awareness. He argues a clear framework that bridges the unmeasurable and spontaneous part of psychotherapy through art, along with the work with the unconscious and the clarity of a scientific method, can help facilitate long term change. Art Therapy and Psychology is hands-on and rich with supportive study tools and numerous case studies with which the reader can relate. This book is essential reading for art therapists in training and in practice, psychologists and mental health professionals looking to establish or grow their expertise. |
| psychology of art: The Psychology of Children's Art Rhoda Kellogg, Scott O'Dell, 1967 |
| psychology of art: The Challenge of Art to Psychology Seymour Bernard Sarason, 1990-01-01 Artistic activity is universal in young children. Why does this activity diminish dramatically with the passing years?. |
| psychology of art: Depth Psychology of Art Shaun McNiff, 1989 |
| psychology of art: Rhythm in Art, Psychology and New Materialism Gregory Minissale, 2021-03-11 This book examines the psychology involved in handling, and responding to, materials in artistic practice, such as oils, charcoal, brushes, canvas, earth, and sand. Artists often work with intuitive, tactile sensations and rhythms that connect them to these materials. Rhythm connects the brain and body to the world, and the world of abstract art. The book features new readings of artworks by Matisse, Pollock, Dubuffet, Tápies, Benglis, Len Lye, Star Gossage, Shannon Novak, Simon Ingram, Lee Mingwei, L. N. Tallur and many others. Such art challenges centuries of philosophical and aesthetic order that has elevated the substance of mind over the substance of matter. This is a multidisciplinary study of different metastable patterns and rhythms: in art, the body, and the brain. This focus on the propagation of rhythm across domains represents a fresh art historical approach and provides important opportunities for art and science to cooperate. |
| psychology of art: The Psychology of Art Appreciation Bjarne Sode Funch, 1997 This book is more than an introduction to the psychology of art appreciation, it puts into perspective the research carried out within the area and offers a new understanding of the relationship between art and viewer. A number of studies within the psycho-physical, cognitive, psychoanalytic, and existential-phenomenological schools of thought are presented in order to demonstrate how their views on the appreciation of visual art vary. Five different types of art appreciation, ranging from a spontaneous preference for a work of art to a blissful experience of trancendence, are identified and described. |
| psychology of art: What is Art For? Ellen Dissanayake, 1990 This book is probably one of the most intellectually enriching interdisciplinary studies of art that has ever been written. |
| psychology of art: Jungian Art Therapy Nora Swan-Foster, 2018-01-03 Jungian Art Therapy aims to provide a clear, introductory manual for art therapists on how to navigate Jung’s model of working with the psyche. This exciting new text circumambulates Jung’s map of the mind so as to reinforce the theoretical foundations of analytical psychology while simultaneously defining key concepts to help orient practitioners, students, and teachers alike. The book provides several methods, which illustrate how to work with the numerous images originating from the unconscious and glean understanding from them. Throughout the text readers will enjoy clinical vignettes to support each chapter and illuminate important lessons. |
| psychology of art: The Psychology of Perspective and Renaissance Art Michael Kubovy, 1986 Michael Kubovy, an experimental psychologist, recounts the lively history of the invention of perspective in the fifteenth century, and shows how, as soon as the invention spread, it was used to achieve subtle and fascinating aesthetic effects. A clear presentation of the fundamental concepts of perspective and the reasons for its effectiveness, drawing on the latest laboratory research on how people perceive, leads into the development of a new theory to explain why Renaissance artists such as Leonardo and Mantegna used perspective in unorthodox ways which have puzzled art scholars. This theory illuminates the author's broader consideration of the evolution of art: the book proposes a resolution of the debate between those who believe that the invention/discovery of perspective is a stage in the steady progress of art and those who believe that perspective is merely a conventional and arbitrary system for the representation of space. |
| psychology of art: Cognitive Processes in the Perception of Art W.R. Crozier, A.J. Chapman, 1984-06-01 This book reviews progress and describes original research in the cognitive psychology of the arts. The invited contributors are leading authorities, and the topics which they cover include psychological approaches to symbols and meaning in art, issues in experimental aesthetics, the development in children of artistic production and appreciation, and the perception of musical and pictorial material. |
| psychology of art: Psychology, Art, and Antifascism Louis Rose, 2016-10-25 A vivid portrait of two remarkable twentieth-century thinkers and their landmark collaboration on the use and abuse of caricature and propaganda in the modern world In 1934, Viennese art historian and psychoanalyst Ernst Kris invited his mentee E. H. Gombrich to collaborate on a project that had implications for psychology and neuroscience, and foreshadowed their contributions to the Allied war effort. Their subject: caricature and its use and abuse in propaganda. Their collaboration was a seminal early effort to integrate science, the humanities, and political awareness. In this fascinating biographical and intellectual study, Louis Rose explores the content of Kris and Gombrich's project and its legacy. |
| psychology of art: The Hidden Order of Art Anton Ehrenzweig, 2023-04-28 From the Preface: The argument of this book ranges from highly theoretical speculations to highly topical problems of modern art and practical hints for the art teacher, and it is most unlikely that I can find a reader who will feel at home on every level of the argument. But fortunately this does not really matter. The principal ideas of the book can be understood even if the reader follows only one of the many lines of the discussion. The other aspects merely add stereoscopic depth to the argument, but not really new substance. May I, then, ask the reader not to be irritated by the obscurity of some of the material, to take out from the book what appeals to him and leave the rest unread? In a way this kind of reading needs what I will call a syncretistic approach. Children can listen breathlessly to a tale of which they understand only little. In the words of William James they take 'flying leaps' over long stretches that elude their understanding and fasten on the few points that appeal to them. They are still able to profit from this incomplete understanding. This ability of understanding- and it is an ability may be due to their syncretistic capacity to comprehend a total structure rather than analysing single elements. Child art too goes for the total structure without bothering about analytic details. I myself seem to have preserved some of this ability. This enables me to read technical books with some profit even if I am not conversant with some of the technical terms. A reader who cannot take 'flying leaps' over portions of technical information which he cannot understand will become of necessity a rather narrow specialist. It is an advantage therefore to retain some of the child's syncretistic ability, in order to escape excessive specialization. This book is certainly not for the man who can digest his information only within a well-defined range of technical terms. A publisher's reader once objected to my lack of focus. What he meant was that the argument had a tendency to jump from high psychological theory to highly practical recipes for art teaching and the like; scientific jargon mixed with mundane everyday language. This kind of treatment may well appear chaotic to an orderly mind. Yet I feel quite unrepentant. I realize that the apparently chaotic and scattered structure of my writing fits the subject matter of this book, which deals with the deceptive chaos in art's vast substructure. There is a 'hidden order' in this chaos which only a properly attuned reader or art lover can grasp. All artistic structure is essentially 'polyphonic'; it evolves not in a single line of thought, but in several superimposed strands at once. Hence creativity requires a diffuse, scattered kind of attention that contradicts our normal logical habits of thinking. Is it too high a claim to say that the polyphonic argument of my book must be read with this creative type of attention? I do not think that a reader who wants to proceed on a single track will understand the complexity of art and creativity in general anyway. So why bother about him? Even the most persuasive and logical argument cannot make up for his lack of sensitivity. On the other hand I have reason to hope that a reader who is attuned to the hidden substructure of art will find no difficulty in following the diffuse and scattered structure of my exposition. There is of course an intrinsic order in the progress of the book. Like most thinking on depth-psychology it proceeds from the conscious surface to the deeper levels of the unconscious. The first chapters deal with familiar technical and professional problems of the artist. Gradually aspects move into view that defy this kind of rational analysis. For instance the plastic effects of painting (pictorial space) which are familiar to every artist and art lover tum out to be determined by deeply unconscious perceptions. They ultimately evade all conscious control. In this way a profound conflict between conscious and unconscious (spontaneous) control comes forward. The conflict proves to be akin to the conflict of single-track thought and 'polyphonic' scattered attention which I have described. Conscious thought is sharply focused and highly differentiated in its elements; the deeper we penetrate into low-level imagery and phantasy the more the single track divides and branches into unlimited directions so that in the end its structure appears chaotic. The creative thinker is capabte of alternating between differentiated and undifferentiated modes of thinking, harnessing them together to give him service for solving very definite tasks. The uncreative psychotic succumbs to the tension between conscious (differentiated) and unconscious (undifferentiated) modes of mental functioning. As he cannot integrate their divergent functions, true chaos ensues. The unconscious functions overcome and fragment the conscious surface sensibilities and tear reason into shreds. Modern art displays this attack of unreason on reason quite openly. Yet owing to the powers of the creative mind real disaster is averted. Reason may seem to be cast aside for a moment. Modern art seems truly chaotic. But as time passes by the 'hidden order' in art's substructure (the work of unconscious form creation) rises to the surface. The modern artist may attack his own reason and single-track thought; but a new order is already in the making. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1971. From the Preface: The argument of this book ranges from highly theoretical speculations to highly topical problems of modern art and practical hints for the art teacher, and it is most unlikely that I can find a reader who will feel at home on every level |
| psychology of art: Gombrich on Art and Psychology Richard Woodfield, 1996 |
| psychology of art: Art as Therapy Alain Botton, John Armstrong, 2016-10-24 Two authorities on popular culture reveal the ways in which art can enhance mood and enrich lives - now available in paperback This passionate, thought-provoking, often funny, and always-accessible book proposes a new way of looking at art, suggesting that it can be useful, relevant, and therapeutic. Through practical examples, the world-renowned authors argue that certain great works of art have clues as to how to manage the tensions and confusions of modern life. Chapters on love, nature, money, and politics show how art can help with many common difficulties, from forging good relationships to coming to terms with mortality. |
| psychology of art: The Subject of Aesthetics Tone Roald, 2015-11-24 How does art influence us? In The Subject of Aesthetics, Tone Roald approaches aesthetics as a psychological discipline, showing how works of art challenge our habitual ways of perceiving the world. While aesthetics has traditionally been a philosophical discipline, Roald discusses how it is very much alive in the realm of psychology – a qualitative psychology of lived experience. But what actually constitutes an aesthetics of lived experience? The book answers that question by analyzing people’s own engagement with visual art. What emerges is that the object of aesthetics is indeed the subject. |
| psychology of art: Handbook on the State of the Art in Applied Psychology Peter Graf, David J. A. Dozois, 2021-01-06 Learn the most up-to-date developments in applied psychology with one authoritative collection The Handbook on the State of the Art in Applied Psychology delivers 19 state-of-the-art addresses on a selected topic in applied psychology. Together, they constitute an up-to-date and authoritative reference that describes the most cutting-edge material in the most prominent domains of applied psychology. The accomplished academics and editors Dr. Peter Graf and Dr. David Dozois put the focus on areas where the most profound recent progress has been made. They also emphasize the link between science and practice, showcasing basic science research that has practical implications for real world problems. Readers will benefit from up-to-date research on topics as varied as occupational commitment and organizational productivity, forgiveness, shared cultural spaces, environmental decision making, and the early identification of reading problems. In addition to the papers included in the collection, the Handbook on the State of the Art in Applied Psychology features: An insightful preface focused on the theme of connecting basic research to practical solutions in the real world An overview of the chapters and their arrangement in the collection An author and subject index to assist readers in finding the information they seek A focus on the most cutting-edge advancements in the field of applied psychology, with an emphasis on the impact of technological innovation and increased recognition of cultural determinants of behavior Perfect for applied psychology researchers, workers, teachers, and students around the world, Handbook on the State of the Art in Applied Psychology also belongs on the bookshelves of anyone looking for an efficient way to get up to speed on the latest developments on a wide variety of relevant topics in applied psychology. |
| psychology of art: The Art of Being Erich Fromm, 2013-02-26 A guide to well-being from the renowned social psychologist and New York Times–bestselling author of The Art of Loving and Escape from Freedom. Though laptops, smartphones, and TVs have in many ways made life more convenient, they have also disconnected us from the real world. Days are spent going from screen to machine, machine to screen. In The Art of Being, renowned humanist philosopher and psychoanalyst Erich Fromm draws from sources as varied as Sigmund Freud, Buddha, and Karl Marx to find a new, centered path to self-knowledge and well-being. In order to truly live, Fromm argues, we must first understand our purpose, and the places where we lost it. This ebook features an illustrated biography of Erich Fromm including rare images and never-before-seen documents from the author’s estate. |
| psychology of art: The Psychology of Art and the Evolution of the Conscious Brain Robert L. Solso, 2003 How human consciousness evolved to perceive and create art. |
| psychology of art: The War of Art Steven Pressfield, 2002-06-03 What keeps so many of us from doing what we long to do? Why is there a naysayer within? How can we avoid the roadblocks of any creative endeavor—be it starting up a dream business venture, writing a novel, or painting a masterpiece? The War of Art identifies the enemy that every one of us must face, outlines a battle plan to conquer this internal foe, then pinpoints just how to achieve the greatest success. The War of Art emphasizes the resolve needed to recognize and overcome the obstacles of ambition and then effectively shows how to reach the highest level of creative discipline. Think of it as tough love . . . for yourself. |
| psychology of art: Neuropsychology of Art Dahlia W. Zaidel, 2015-11-06 Fully updated, the second edition of Neuropsychology of Art offers a fascinating exploration of the brain regions and neuronal systems which support artistic creativity, talent and appreciation. This landmark book is the first to draw upon neurological, evolutionary, and cognitive perspectives, and to provide an extensive compilation of neurological case studies of professional painters, composers and musicians. The book presents evidence from the latest brain research, and develops a multidisciplinary approach, drawing upon theories of brain evolution, biology of art, art trends, archaeology, and anthropology. It considers the consequences of brain damage to the creation of art and the brain’s control of art. The author delves into a variety of neurological conditions in established artists, including unilateral stroke, dementia, Alzheimer’s Disease, Parkinson’s Disease, and also evidence from savants with autism. Written by a leading neuropsychologist, Neuropsychology of Art will be of great interest to students and researchers in neuropsychology, cognitive psychology, neuroscience, and neurology, and also to clinicians in art therapy. |
| psychology of art: Psychology, Art and Creativity Shannon Whitten, 2022-12-13 This comprehensive text challenges the taken-for-granted opposition of science and art by combining the fundamental principles of psychology, art and creativity and presenting the interdependent disciplines together in one unique, clear, and accessible resource. The author, Shannon Whitten, begins with an introduction to the foundations of art and psychology, providing readers with a critical understanding and history of the key concepts in both disciplines before establishing their interdependency. Drawing on a solid evidence base, the book then presents an assortment of extensive topics, from the human perception of color to the ability of art to impact mental health. The exploration of these topics enables the reader to reflect on the phenomenal power of human creativity. The chapters include vital categories of human psychology such as emotion, perception, personality, and social psychology to show the extensive connections between these elements of experience and art. Featuring a wealth of additional resources, this illuminating text equips the reader with a sound knowledge of the vocabulary and issues in the study of empirical aesthetics through visual content and stimulating prompts for reflection. Emphasizing the link between creativity and good mental health, the book is an essential read for students of the psychology of art, creativity, art therapy, and empirical aesthetics, as well as any discipline within the humanities, arts and science. It will also be of relevance to anyone interested in understanding the psychology behind creativity and its therapeutic effects on the artist. |
| psychology of art: Psychology of the Arts Hans Kreitler, Shulamith Kreitler, 1972 |
| psychology of art: The Psychology of Art Lev Semenovich Vygotskiĭ, 1971 This work approaches the study of art from a psychological basis. |
| psychology of art: Experiencing Creativity Robert Neal Wilson, 1986-01-01 First published in 1986, neither the creative process nor the art object, singly or together, has been often in the forefront of sociological attention. This is a study building on Harry Murray's classic Explorations in Personality of the 1930s. |
| psychology of art: Musical Composition Alan Belkin, 2018-06-19 An invaluable introduction to the art and craft of musical composition from a distinguished teacher and composer This essential introduction to the art and craft of musical composition is designed to familiarize beginning composers with principles and techniques applicable to a broad range of musical styles, from concert pieces to film scores and video game music. The first of its kind to utilize a style-neutral approach, in addition to presenting the commonly known classical forms, this book offers invaluable general guidance on developing and connecting musical ideas, building to a climax, and other fundamental formal principles. It is designed for both classroom use and independent study. |
| psychology of art: Art and Illusion Ernst Hans Gombrich, 1960 The A.W. Mellon lectures in the fine arts 1956, National Gallery of Art, Washington |
Psychology of art - Wikipedia
The psychology of art is the scientific study of cognitive and emotional processes precipitated by the sensory perception of aesthetic artefacts, such as viewing a painting or touching a …
Harvard researcher on psychology of art — Harvard Gazette
Apr 2, 2019 · Her latest book, “How Art Works: A Psychological Exploration,” is based on years of research at both Harvard and BC, and looks at art through psychological and philosophical …
The Psychology of Art: Concepts and Characteristics
Sep 15, 2020 · The psychology of art is a field of psychology that studies creativity and artistic appreciation from a psychological standpoint. The goals of the psychology of art are similar to …
Psychology of Aesthetics, Creativity, and the Arts
Includes articles about Rudolf Arnheim and his contributions to visual thinking; Gestalt psychology; aesthetics; arts education; representational conceptions in two- and three …
Art and brain: insights from neuropsychology, biology and evolution
Art is a uniquely human activity associated fundamentally with symbolic and abstract cognition. Its practice in human societies throughout the world, coupled with seeming non-functionality, has …
How Art Works: A Psychological Exploration | Oxford Academic
Nov 22, 2018 · This book is an examination of what psychologists have discovered about how art works—what it does to us, how we experience art, how we react to it emotionally, how we …
Your Brain on Art - Psychology Today
Mar 7, 2023 · Psychology of art theories describe art creation and art appreciation as mirror images of each other. Neuroscience research shows great similarity in brain regions active …
Psychology of Art and Aesthetics - Oxford Bibliographies
Mar 30, 2017 · The psychology of art and aesthetics is the study of the perception and experience of the visual arts, music, film, performances, literature, design, and the environment. Art is a …
The Psychology of Visual Art - Cambridge University Press
What can art tell us about how the brain works? And what can the brain tell us about how we perceive and create art? Humans have created visual art throughout history and its …
The Psychology of Art - JSTOR
Morphology, art criti-cism, and art history emphasize works of art, while the psychology of art emphasizes the behavior and experience of the people who make and use them. But all these …
Psychology of art - Wikipedia
The psychology of art is the scientific study of cognitive and emotional processes precipitated by the sensory perception of aesthetic artefacts, such as viewing a painting or touching a …
Harvard researcher on psychology of art — Harvard Gazette
Apr 2, 2019 · Her latest book, “How Art Works: A Psychological Exploration,” is based on years of research at both Harvard and BC, and looks at art through psychological and philosophical …
The Psychology of Art: Concepts and Characteristics
Sep 15, 2020 · The psychology of art is a field of psychology that studies creativity and artistic appreciation from a psychological standpoint. The goals of the psychology of art are similar to …
Psychology of Aesthetics, Creativity, and the Arts
Includes articles about Rudolf Arnheim and his contributions to visual thinking; Gestalt psychology; aesthetics; arts education; representational conceptions in two- and three …
Art and brain: insights from neuropsychology, biology and evolution
Art is a uniquely human activity associated fundamentally with symbolic and abstract cognition. Its practice in human societies throughout the world, coupled with seeming non-functionality, has …
How Art Works: A Psychological Exploration | Oxford Academic
Nov 22, 2018 · This book is an examination of what psychologists have discovered about how art works—what it does to us, how we experience art, how we react to it emotionally, how we …
Your Brain on Art - Psychology Today
Mar 7, 2023 · Psychology of art theories describe art creation and art appreciation as mirror images of each other. Neuroscience research shows great similarity in brain regions active …
Psychology of Art and Aesthetics - Oxford Bibliographies
Mar 30, 2017 · The psychology of art and aesthetics is the study of the perception and experience of the visual arts, music, film, performances, literature, design, and the environment. Art is a …
The Psychology of Visual Art - Cambridge University Press
What can art tell us about how the brain works? And what can the brain tell us about how we perceive and create art? Humans have created visual art throughout history and its …
The Psychology of Art - JSTOR
Morphology, art criti-cism, and art history emphasize works of art, while the psychology of art emphasizes the behavior and experience of the people who make and use them. But all these …
