The picture-making was interpreted individually in the light of the psychodynamic data. Each of 72 participants was followed as he or she made a “work of art” from a photograph and later underwent a psychodynamic interview.
THE RAILWAY STATION PAINTING SERIES
In the third and most ambitioius study, a nomothetic analysis confirmed a series of idiographic interpretations.
THE RAILWAY STATION PAINTING PROFESSIONAL
In the second, of two professional painters with contrasting styles in painting, patterns of speech, styles of interpersonal relationships, and their Rorchach styles, were consistent with their painting the Rorschach even predicted (blind) their painting styles. In the first, a careful selection was made of participants for diametrically opposed aesthetic tastes, who independently underwent psychodynamic interviews the selection provided clearly contrasting dynamics that clarified and gave meaning to the idiographic data. Here I shall summarize three complementary, long-term studies. Used with the right controls, they are not only rich in information but also valid and reconcilable with nomothetic. Such data have been crucial to me in attempting to understand both aesthetics and creativity. Persuasive arguments have been made recently for rediscovering the value of idiographic data and, specifically, of introspection (Perspectives on Psychological Science, January 2009). Thus, the affect system not only modulates motor output (i.e., favoring approach or avoidance dispositions), but already operates at an early level of sensory encoding. These results support the hypothesis that sensory encoding of affective stimuli is facilitated implicitly by natural selective attention. The study also replicated previous findings in that affective cues also elicited enlarged late positive potentials, indexing increased stimulus relevance at higher-order stages of stimulus processing. Early selective encoding of pleasant and unpleasant images was associated with a posterior negativity, indicating primary sources of activation in the visual cortex. Event-related brain potentials were measured while subjects viewed pleasant, neutral, and unpleasant pictures. The present study tested the hypothesis that perceptual encoding in the visual cortex is modulated by the emotional significance of visual stimuli. However, organization of successful behavioral strategies depends on efficient stimulus encoding.
No significant association was found between viewers’ perceptive awareness and their aesthetic judgments, suggesting that visual attraction could be more critical than cognitive information for viewers’ aesthetic responses to a work of art.Ī key function of emotion is the preparation for action. Comparing with artist’s achievement of realistic representation, the viewers were indeed unmoved by the effects of idea communication and emotional expression in the painting.
The results of this study partly supported Bell’s argument. Statistical data showed that, contrary to Bell’s criticism, the artistic value of the work was confirmed by viewers’ responses, demonstrating that he underestimated the attractiveness of representational painting. This paper used Frith’s painting as the subject to explore whether viewers’ aesthetic responses to a narrative painting would be affected by their perceptive awareness of image. In his influential book Art, Bell claimed that William Powell Frith’s famous narrative painting The Railway Station was not a work of art. For Bell, a painting could not be a work of art if line and color were used to recount anecdotes, express ideas, and indicate the lifestyle of an age.
This study intends to exam Clive Bell’s theory of significant form.
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