More than the sum of its parts: Perceiving complexity in painting.

Commare, Laura; Rosenberg, Raphaël; Leder, Helmut

doi:10.1037/aca0000186

Cited by 18 publications

(22 citation statements)

References 61 publications

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“…While laypersons are positively influenced by increased color saturation, high saturation has a negative influence on experts' evaluations. Also, and in contrast to previous studies (e.g., Kirk et al, 2011;Commare et al, 2018), we show that art experts are less consistent in their aesthetic judgments compared to laypersons. In particular, if they have time to do so, art experts tend to review their initial judgments given after viewing an artwork for a restricted period of time.…”

Section: Introductioncontrasting

confidence: 99%

“…At the same time, as suggested above, our results also show that art experts are not quite as consistent in their liking of judgments in very short vs. unrestricted viewing times. This is in contrast to Commare et al (2018), who found that experts exhibit more consistency in complexity judgments than laypersons. Our findings support the claim, predicted by the models of Leder et al (2004) and Pelowski et al (2017), that expertise affects the evaluation of an image, but only at a later (top-down) stage of processing.…”

Section: Effects Of Expertise and Timecontrasting

confidence: 91%

“…As a further factor, the time a visual artifact is perceived influences how it is evaluated (Pelowski et al, 2017). In addition, the level of expertise may modulate the assessment of an artwork (Commare et al, 2018), but this modulation may differ according to the level of processing (Pelowski et al, 2017). Based on previous research (Camgöz et al, 2004;Reinecke et al, 2013; van Dongen and Zijlmans, 2017), we argue that the augmented saturation of digitized reproductions of paintings will increase liking and show an influence on the general variety of outcomes as theorized by VIMAP.…”

Section: Summary and Research Questionsmentioning

confidence: 99%

“…In line with previous works (Valdez and Mehrabian, 1994;Camgöz et al, 2002;Palmer and Schloss, 2015), we expected that increasing saturation would increase liking. We also assumed that this effect would be more pronounced for laypersons, whereas experts would be more influenced by the content of the image (Commare et al, 2018;Pelowski et al, 2020). That is why we selected images of paintings with a muted color palette and increased their color saturation.…”

Section: Limitations and Future Workmentioning

confidence: 99%

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Aesthetic Evaluation of Digitally Reproduced Art Images

et al. 2020

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Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, however, it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time (100 ms vs. unrestricted viewing time) and expertise (art experts vs. laypersons), two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception (VIMAP)]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects (interest, confusion, surprise, and boredom), however, are affected – to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today’s digitally reproduced art environment.

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Section: Introductioncontrasting

confidence: 99%

Section: Effects Of Expertise and Timecontrasting

confidence: 91%

Section: Summary and Research Questionsmentioning

confidence: 99%

Section: Limitations and Future Workmentioning

confidence: 99%

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Aesthetic Evaluation of Digitally Reproduced Art Images

et al. 2020

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“…Fixation duration on the other hand has been shown to adjust to processing difficulty and to increase with increasing level of complexity in the perception of scenes ( 12 , 13 ). Complexity of artistic images has been described as both a formal characteristic - the amount and variety of represented elements - and a semantic one - whether the iconography of a picture is usual or unusual ( 14 ). An “assembling” gaze is therefore intended as a series of long fixations, aimed at the identification of a subject matter or contextual information.…”

Section: Introductionmentioning

confidence: 99%

Absorbing the gaze, scattering looks: Klimt’s distinctive style and its two-fold effect on the eye of the beholder

Miscenà

Arató²,

Rosenberg³

2020

JEMR

Self Cite

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Among the most renowned painters of the early twentieth century, Gustav Klimt is often associated – by experts and laymen alike - with a distinctive style of representation: the visual juxtaposition of realistic features and flattened ornamental patterns. Art historical writing suggests that this juxtaposition allows a two-fold experience; the perception of both the realm of art and the realm of life. While Klimt adopted a variety of stylistic choices in his career, this one popularised his work and was hardly ever used by other artists. The following study was designed to observe whether Klimt’s distinctive style causes a specific behaviour of the viewer, at the level of eye-movements. Twenty-one portraits were shown to thirty viewers while their eye-movements were recorded. The pictures included artworks by Klimt in both his distinctive and non-distinctive styles, as well as other artists of the same historical period. The recorded data show that only Klimt’s distinctive paintings induce a specific eye-movement pattern with alternating longer (“absorbed”) and shorter (“scattered”) fixations. We therefore claim that there is a behavioural correspondence to what art historical interpretations have so far asserted: The perception of “Klimt’s style” can be described as two-fold also at a physiological level.

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Auf den Spuren von Seh-Modi beim Kunstbetrachten

Brinkmann

2021

Kunst Und Gesellschaft

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More than the sum of its parts: Perceiving complexity in painting.

Cited by 18 publications

References 61 publications

Aesthetic Evaluation of Digitally Reproduced Art Images

Aesthetic Evaluation of Digitally Reproduced Art Images

Absorbing the gaze, scattering looks: Klimt’s distinctive style and its two-fold effect on the eye of the beholder

Auf den Spuren von Seh-Modi beim Kunstbetrachten

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