The subject under discussion concerns the existence of an automatic aesthetic evaluation. When we encounter an object like an artwork or an architectural structure that activates an aesthetic response, does the associated evaluation appear in our mind as an automatic process? From the broad field of aesthetic appraisal, we will be considering a specific aspect that refers only to the positive and negative affects related to an individual's preference between two art styles (figurative vs. abstract) and two architectural styles (classic vs. contemporary). The hypothesis is that there is a preexistent preference within the visual arts and architecture that can clearly be identified using implicit measurements. Results from two experiments that were conducted with the use of the Implicit Association Test (IAT) showed that participants' reaction times were faster in associating positive words to figurative art and classical architecture (the so-called compatible task) than to abstract art and contemporary architecture (the so-called incompatible task). The results are in line with the hypothesis that aesthetic preferences can also be experienced automatically. Prototypicality (i.e., the degree to which an object is representative of a general class of object), familiarity and the relative simplicity of figurative art and classical architecture (compared to abstract art and modern architecture) can explain the shorter reaction time and as a consequence, an implicit aesthetic preference for these kinds of stimuli.

McManus, I. C., & Furnham, A. (2006). Aesthetic activities and aesthetic attitudes: Influences of education, background and personality on interest and involvement in the arts.

The aim of the present research was to explore possible differences between visitor experiences in two different kinds of art museums according to the art styles of the collections hosted: the Museum Borghese of Rome (ancient art) and the Peggy Guggenheim Collection of Venice (contemporary art). Two questionnaires were administered to 500 Italian participants before and after their visit to one of the museums. Questions (Likert scales and multiple choice) assessed how much visitors liked and were satisfied with the museum and their visit, and the motivations, expectations and preference that drive people to visit museums of ancient versus contemporary art. Results show that people who visit the Guggenheim Museum have higher socio-economic status (education and profession) and visit museums more frequently than those who attend the Borghese Museum. Additionally, educational level relates to the enjoyment of the visit and to the nature of the aesthetic experience; visit conduction by Borghese visitors was driven by the intent of understanding and knowing, while those who attended the Guggenheim took an emotional approach to their experience.

No abstract

Viene ricostruito il clima culturale che favorì un primo accostarsi della psicologia accademica bolognese al fenomeno artistico. Tra i fattori facilitanti: gli stretti rapporti fra i maestri tedeschi della Gestalt e gli artisti del Bauhaus nel periodo 1911-1933; nonché, nei primi anni Sessanta, entro la scuola di Renzo Canestrari, gli scambi tra i gestaltisti italiani e gli esponenti di avanguardie artistiche come "Arte Programmata" e "Nuova Tendenza". Ne scaturirono iniziative di ricerca messe in opera da un gruppo di allievi nelle Università di Bologna e, in seguito, di Roma Sapienza e Roma Tre. Furono inoltre introdotte nel corso di laurea DAMS di Bologna due nuove discipline ("Psicologia dell'arte" e "Psicologia della musica"), poi attivate in altri atenei. In parallelo vennero condotti numerosi studi teorici e sperimentali sui linguaggi artistici e i processi creativi, d'invenzione e fruizione; studi i cui risultati sono stati apprezzati sul piano internazionale per l'integrazione dei metodi e l'interdisciplinarità delle competenze.