ART: PERCEPTION and APPRECIATION MA. AURORA R. ORTIZ TERESITA E. ERESTAIN ALICE G. GUILLERMO MYRNA C. MONTANO SANTIAGO A. PILAR. Title, Art: Perception and Appreciation. Contributor, Ma. Aurora R. Ortiz. Publisher , University of the East, Length, pages. Export Citation, BiBTeX. Art: perception and appreciation / Ma. Aurora R. Ortiz [ et al. ] Author Ortiz, Ma. Aurora R. PublisherManila: University of the East, c ISBN

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Participants were randomly asked to follow either the clockwise or the anticlockwise route, and were provided with a map of the exhibition on which the six relevant rooms were highlighted.

Art and the language of emotion. However, we rotiz not directly measure this, and further research is needed to better understand how percetion can be best provided with information in order to make the most of an art exhibition or museum visit. Simple stimuli are learned faster, and boredom may thus set in more quickly compared to complex stimuli. We also compared the effect of viewing environment laboratory versus museumand effects of familiarity with the artworks.

Do people prefer curved objects?

Overexposure, however, results in boredom and thus leads to depreciation of the stimulus. A An example of a hand-out displaying one of the exhibition rooms in the museum with artworks included in our stimulus set, to aid participants in identifying the correct paintings and their corresponding numbers on the rating sheet. Error bars represent the standard error of the mean. December 1; 44 4: Participants were asked to rate the artworks on four dimensions one rating per dimension: However, he points out that evaluating the content of the artwork can induce a wider range of emotions not restricted to aesthetics, e.

Introduction People have created and appreciated visual artworks throughout history and across different cultures. Hence, exploring a stimulus renders positive reinforcement. Although expertise explains part of the appreciation adn art, it does not account for emotions that may be triggered by visual features of the artwork itself.

This was driven by portraits being rated as more calm mean 3. In contrast, the consistency in affective evaluations across observers substantiates earlier reports by our group [ 3940 ]. Although a judgement of beauty may indeed be influenced by an emotional response, it is also thought to be heavily influenced by artistic style, art-historic knowledge and so on see [ 15 ].


B Examples of the stimuli. Some researchers have highlighted the concept of felt versus perceived emotion [ 38 ]. Contrary to our expectations, we found no main effects or interactions with respect to art expertise. Previous theories on the emotional response to art have focused either on the intentional expression of a particular emotion by the artist [ 27 — 29 ] or on the experience of the observer [ 30 — 32 ].

In the former case, the hypothesis is that the artwork contains specific features that influence the perception of emotion. Leder, Belke, Oeberst andd Augustin [ 15 ], for example, have argued that knowledge of style and context of the artwork are perceptino to having an aesthetic experience.

These findings are directly relevant amd museums, as they suggest that promoting artworks in an exhibition for example by providing a preview of the artworks in the exhibition online, along with brief background information may increase the overall experience of non-expert museum visitors.

Participants were all art novices with no particular background in art. The art expertise score refers to a questionnaire adapted from the Assessment of Art Attributes see Measures section in which participants indicated, among others, the number of hours per week spent on creating visual art, number of museum visits per year, and so on.

appfeciation Published online Aug 5. Hence, the relationship between familiarity and aesthetic preference seems intricate, and findings from previous studies percepton equivocal.

In the present study we investigated the effect of art expertise on art appreciation using both basic emotion judgments valence and arousal and more aesthetic judgments of beauty and liking. The artworks were divided into two stimulus sets henceforth referred to as set 1 and set 2 in a pseudo-random manner based on their size, ensuring that artworks from each exhibition room were divided roughly equally over the two sets and that each set contained similarly sized artworks.

A The experimental paradigm used in session I laboratory session. The training comprised a minute video clip presented on a laptop set up in a booth in the reception area of the museum. Example of materials used in the museum session. In the museum session participants were given a paper questionnaire on which they circled their answers.

In addition, even when participants rate a specific emotional question e. However, this study included a limited set of paintings and, art expertise not being the main focus of the study, the observed differences between the groups were not further discussed.


We were also interested to see whether artworks would be better appreciated in a museum, which is the culturally defined location where artworks are supposed to be best viewed as opposed to a dimly lit lab room. Psychol Aesthetics, Creat Arts.

This assumption is especially relevant for abstract artworks, where no recognisable objects are depicted apprdciation could trigger semantic associations.

Melcher DP, Bacci F. Thus, although a simple minute lesson on the artists and art history related to an exhibition was sufficient to alter the degree to which viewers liked artworks, the effects of the training were aet clear-cut and need to be further investigated in future studies, perhaps by testing different types and durations of training.

The Art of Perception and Appreciation

Sixty participants 40 novices, 20 art experts rated a set of abstract artworks and portraits during two occasions: In one study, for example, participants with varying levels of art knowledge were asked how much they liked a set of abstract artworks [ 7 ]. Based on previous studies, we predicted that art expertise would affect aesthetic appreciation mainly with respect to beauty and liking judgments.

The current study We investigated the roles of observer experience and training, familiarity, and the physical context in which the artwork is viewed, on judgments of emotion, beauty and preference for abstract artworks and representational artworks in this case, portraits. Relationships between aesthetic response scales applied to paintings. Components of aesthetic experience: Emotional Responses to Art: Participants were students of the University of Trento, members of the local community, artists, and art teachers.

With respect to providing specific art historic and stylistic information, we found some evidence that this helps art novices to appreciate representational artworks that they had encountered on a previous occasion.

J Aesthet Art Crit. We found no significant main effects or interactions with regard to Valence ratings.