Skills; *Visual Arts IDENTIFIERS Artistic Thought (original) (raw)
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Artistic Judgment III: Artist Validation. Technical Report 1991-1
1991
Two studies compared the visual preferences, cognitive abilities, and occupational interests of artists and nonartists. Study One compared scores on an experimental battery of artistic judgment tests for three groups: professional artists, Johnson O'Connor Research Foundation examinees in art-related professions, and Foundation examinees not in those fields. Study Two compared the two groups of Foundation examinees on the standard Foundation battery and the interest scales of the Career Occupational Preference System (COPS). In Study One, the artists and nonartists differed significantly on all tests in the experimental battery. On the Barron-Welsh Art Scale (BWAS), the professional artists scored significantly higher than a nonartist sample studied previously. In Study Two, on the standard battery tests, artists scored 1;ignificantly higher than nonartists in Inductive Reasoning, Structural Visualization, Paper Folding, Memory for Design, Observation, and Tweezer Dexterity. Study Two also showed that artists and nonartists differed in their occupational interests, with artists showing significantly higher interest in artistic occupations, and significantly less in science, business, and computation related fields. The Design Judgment Test, Visual Design Test scales, and the Proportion Appraisal Consensus and .67 scales were shown to be valid in distinguishing artists from nonartists. Further research should be conducted into the relationship between artistic judgment and education and training in the visual arts. (Contains 104 references and four appendices.) (Author/SG)
Art judgment: A measure related to both personality and intelligence?
2005
The link between personality (Big Five and typical intellectual engagement) and intelligence (Wonderlic and Raven scores) with a measure of art judgment was examined in a sample of 102 university students. Participants' art interests were also assessed through a self-report inventory of art experience, art activities, and particular painting style recognition.
Personality, intelligence, and art
Personality and Individual Differences, 2004
This study looked at the relationship between personality, intelligence, art experience (i.e. art interests, activities, and knowledge), and a test of art judgement. Participants completed the Graves Maitland Design Test (Graves, 1948), an intelligence measure (Wonderlic, 1992), and the NEO-FFI (Costa & McCrae, 1992). Odessa, FL: Psychological Assessment Resources] personality measure of the Big Five, as well as a questionnaire on their art experience. Openness to Experience was significantly related to art experience (i.e. preference), but not to art judgement (i.e. ability), while intelligence was significantly related to art judgement, but not to art experience. Multiple regression analysis showed that Openness to Experience was a powerful predictor of art experience, accounting for up to 33% of the variance. Personality also predicted art judgement: those high on Extraversion and low on Conscientiousness did best.
2007
ART is part of everyday life, but its importance differs widely from person to person: some can't get enough of galleries, watch art programmes on TV, and devour artists' biographies, whereas others are simply not bothered at all. Yet psychologists have rarely explored these individual differences. Here we assess the role of established personality and intelligence factors as determinants of artistic preference, interests, knowledge, and judgment.
Psychological characteristics of art specialists with a highly productive creative imagination
Psychology of Russia: State of Art, 2018
Background: Notwithstanding all the different forms of art, the source of the creative process, its initial impulse, is an artistic image, and its creation is closely connected with the imagination. L. Vygotsky held the view that artistic creativity has great importance in overall development. In this regard, it is relevant to study the role of personal psychological characteristics that stimulate creativity, determine creative potential, and indicate personal predisposition to artistic activity. Objective: to study individual psychological characteristics of art specialists with a highly productive creative imagination. Design: There were 240 respondents: art specialists (artists, actors) and specialists who do not work in artistic fields. The empirical research included: assessment of the level of productivity of the creative imagination and psychological testing. All the participants, within the bounds of their profession, were divided into high productivity and low productivity groups. The productivity level of the creative imagination was assessed by expert judgment of art works made by the participants using a monotype technique. For psychological testing, the following methods were used: Freiburg Personality Inventory (FPI); Volitional Self-Control Inventory by A. Zverkov and E. Eidman; the "Choose the Side" test by E. Torrance; the "Unfinished Figures" subtest by E. Torrance; and the technique of pair comparisons by V. Skvortsov. Statistical data processing was conducted on the basis of percentage distribution and comparative analysis using the Student parametric t-test. We used STATISTICA 13.0 software. Results: We found the following psychological characteristics of art specialists with highly productive creative imagination: high emotionality, inclination to affective reactions, high anxiety and excitability, and need for self-realization. Artists with highly productive creative imagination were characterized by immersion in their own emotions, psychic estrangement, high sensitivity, flexibility, ingenuity, right-hemisphere and combined types of thinking, and a high level of nonverbal creativity. Actors with highly productive creative imagination were characterized by stability, relaxation, selfsatisfaction, and average nonverbal creativity; the mixed type of thinking predominated in this group. Psychological characteristics of art specialists … 135 Conclusion: The differences in the intensity of the psychological characteristics of representatives of these different professional groups may be determined by the level of productivity of their creative imagination. We discovered general and specific (depending on professional activity) psychological characteristics of art specialists with a high level of productivity of the creative imagination.
Artists as experts in visual cognition: An update
The question of whether and how visual artists see the world differently than non-artists has long engaged researchers and scholars in the arts, sciences, and humanities. Yet as evidence regarding this issue accumulates, it has become clear that the answers to these questions are by no means straightforward. With a view to advancing ongoing debate in this field, the current study aimed to replicate and extend previous research by exploring the differences in visual-spatial ability between art students (n = 42) and non-art students (n = 37), using a comprehensive battery of visual-spatial and drawing tasks. Art students outperformed non-art students on drawing measures and some (but not all) visual-spatial tasks. This nuanced pattern of results broadly supports the notion that art students differ from non-art students in their ability to exert top-down control over attentional processing, but not in the phenomenology of low-level visual processing. Implications for theories of artistic expertise are discussed.
Art historians, artists, psychologists, and neuroscientists have long asserted that artists perceive the world differently than nonartists. Although empirical research on the nature and correlates of skilled drawing is limited, the available evidence supports this view: artists outperform nonartists on visual analysis and form recognition tasks and their perceptual advantages are correlated with and can be largely accounted for by drawing skill. The authors propose an integrative model to explain these results, derived from research in psychology and cognitive neuroscience on how category knowledge, attention, and motor plans influence visual perception. The authors claim that (a) artists' specialized, declarative knowledge of the structure of objects' appearances and (b) motor priming achieved via proceduralization and practice in an artistic medium both contribute to attention-shifting mechanisms that enhance the encoding of expected features in the visual field and account for artists' advantages in drawing and visual analysis. Suggestions for testing the model are discussed.