PSYCHOLOGICAL APPROACHES TO THE ART HISTORY (original) (raw)
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The purpose of this paper is to provide a better understand for the role and presence of art in society. This is done by compiling ten studies exploring different psychological processes that take place when viewing art. Art acts as a mode of communication between the artists and the viewer. This can occur as an intimate dialog between the artist and viewer, or by crating larger social dialogs arousing masses. The content of these dialogs impacts the emotional and intellectual being states of the viewer, transmitting complex interactions. In addition, my theory for art contributing to the progression of human society by exercising the part of the brain associated with object appraisal and so human's ability to use tools, builds upon the research done by other and my own knowledge of art and art history.
What is and what is not art psychology
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Similar to other scientific disciplines, art psychology, beginning at the end of the 19th century until the present day, can also be considered a science. The ancient concepts of mimesis and catharsis, for example, are extremely important and have been used in art psychology extensively. The emotions, thoughts, dreams and emotional fulfillment created by the artist are shared by the recipient of the artwork. Based on psychoanalytic theory, Sigmund Freud was able to explain Leonardo and Dostoevsky through their works and personalities. In this study, the content of art psychology, psychology theories on which art psychology is based and psychological processes related to artist-art work-recipient were investigated. In this research, a descriptive research model was used and the related resources and approaches were aimed to be determined. In the study, based on the existing sources an attempt was made to answer the question of what the field of art psychology is and is not.
Reflections on a Psychogeography of the Artwork
Reflections on a Psychogeography of the Artwork, 2020
Atmospheres are fragile things. We are nonetheless constantly influenced by them. Occasionally we find ourselves able to create an atmosphere, but most often we find ourselves experiencing them and allowing ourselves to be immersed in them. In this work, I will look generally at the subject of atmospheres in the field of art, a topic which leads us directly to the scenic and the Society of the Spectacle. Not in the world of ‘moral leadership’, but rather in today’s ‘emotional leadership’, the ‘Empire of the Self’, we find countless examples of and connections to the Romantic. Given the necessity here to delineate the field of research, as a point of departure I will focus on a single personality who, for these purposes, can be seen as a visionary of the 21st century. An enlightening example for our explorations is provided by the soviet filmmaker Andrei Tarkovsky (1932-1986). His studies of atmospheres such as the series later titled Instant Light show him to be a researcher who had presciently implemented philosophical theories of today. Further to this, I will examine the influence of opera on the visual arts, looking at examples including the winners of the last two Biennali di Venezia; Anne Imhof (*1978) and Lina Lapelytė (*1984). Based on these two examples we come to the core consideration of this thesis - that of psychogeography in art. Although the concept of psychogeography has most obviously influenced areas like architecture theory, town planning, geography and psychology, it was originally coined by the Situationist International artists. The term is thus brought back to its original context, in which we must now make a distinction between the mental and the physical psychogeographical understanding. I will examine and elucidate these concepts with reference to maps in computer games and the method of loci; in addition to which the terms spatial experience and Gesamtkunstwerk (complete work of art) automatically come into play. Performative works such as Anne Imhof’s “Faust” 2017 and Sun & Sea (Marina) 2019 by Lina Lapelytė, Rugilė Barzdžiukaitė and Vaiva Grainytė are particularly suitable examples for us to consider. The problematics of mental sense of space inform one of the most important questions of this work, which I will investigate as thoroughly as possible. This thesis, forming the conclusion of a five-year-long life experience, sets the tone for my later artistic research.
Aesthetics in art one of the oldest areas of psychological research after discovery of Sigmund Freud and Carl Jung theory of unconscious mind. They explored the human mind more thoroughly than any other who became before them. This paper discu sses the temperament of various artists and their works. The experimental study of evaluations and feelings related to art has a long history in the sphere of psychology. Psychology and its relationship with art played a greater role in the artists’ symbol ic works. Emotions and art are intimately related from human civilization to the contemporary period, theories of aesthetics have emphasized the role of art in evoking, shaping, and modifying human feelings. Psychology has had a steady interest in aestheti c problems since Impressionism. The study of art and the study of emotions, as areas of scientific inquiry, both developed during the 19th century as we have seen the artwork of various artists.
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This article is part of a research that problematizes the encounter between art and education in Brazil in the last two decades as well as the role of psychology in this process. A critical cartography was perfomed through an archive containing a set of articles from academic journals approaching the relationship between art and education in a practical or theoretical way. Concomitantly, there was an attempt to capture the strategies by which the practices of art pedagogization are carried out and how the psychological discourse participates in its constitution. It was noted that from the encounter of art with some forms of psychology, comes the promotion of a device that takes the ethical and aesthetic values of the individual as an active process of constituting oneself as a subject via stimulation.
Six years ago John Onians published the book Neuroarthistory From Aristotle and Pliny to Baxandall and Zeki. In 2008, very few people wanted to discuss this new approach in history of art. It was hard to find art historians who wanted to be neuroarthistorians. Today, after famous research made by David Freedberg and Vitorio Gallese, we can observe a fascinating process in art history—a cognitive turn. This idea of new art history is connected with science, particular with neuroscience—and this will be the main subject of my presentation. I will point out all those ideas that can be taken from cognitive science. This methodological research will include interpretations made by art historians and scientists. I will show the evolution of the “cognitive” approach in art history by analyzing the achievements of art historians such as: John Onians, David Freedberg, Raphael Rosenberg. This compilation should show how important the newest knowledge, from neuroscience is in the interpretation of past and modern art. I will also try to confirm the idea that history of art has to change and be more open to empirical methods. I will show basic practical problems of using neuroscience discoveries in the history of art.
Une Exploration de l'essence de l'art à la lumière de la situation contemporaine de l'art
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This thesis seeks to answer a basic question of the philosophy of art: What is art? After examining the answers provided to this question by several art theories, it proposes that the definition of art offered by Arthur Danto is the one that most conforms to the reality of art, although it suffers from certain imperfections and insufficiencies. On the basis of this critical conclusion and through a careful analysis of what is categorized as art in the present time, it attempts to modify Danto’s definition and to transfigure it into a new one, capable of better conforming to the reality of art. It firstly introduces the contemporary situation of art and the existing art theories which didn’t successfully do sufficient justice to the totality of what is considered as artistic. Through a critical examination of these theories, it tries to show that the sufficient and necessary conditions for being art that they propose are either not sufficient or not necessary. It then tries to clear ...
Art and Expression: Studies in the Psychology of Art
2019
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 phenomeno-logical 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 gen-res 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.