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Pupil dilatations have been found to predict emotional responses and the amount of information the brain is processing, measures important in testing emotional response elicited by artwork. [23] Further, the existence of pupillary responses to artwork can be used as an argument that art does elicit emotional responses with physiological reactions.
The Psychology of Art (1925) by Lev Vygotsky (1896–1934) is another classical work. Richard Müller-Freienfels was another important early theorist. [8] The work of Theodor Lipps, a Munich-based research psychologist, played an important role in the early development of the concept of art psychology in the early decade of the twentieth century.
[2] Bell's definition explicitly separated significant form from beauty; in order to possess significant form, an object need not be attractive as long as it elicits an emotional response. [3] As Bell put it succinctly: "The important thing about a picture, however, is not how it is painted, but whether it provokes aesthetic emotion." [4]
Neuroaesthetics is a field of experimental science that aims to combine (neuro-)psychological research with aesthetics by investigating the "perception, production, and response to art, as well as interactions with objects and scenes that evoke an intense feeling, often of pleasure."
Computational approaches to aesthetics emerged amid efforts to use computer science methods "to predict, convey, and evoke emotional response to a piece of art. [70] In this field, aesthetics is not considered to be dependent on taste but is a matter of cognition, and, consequently, learning. [71]
It is a measure of a person's emotional reactivity to a stimulus. [2] Most of these responses can be observed by other people, while some emotional responses can only be observed by the person experiencing them. [3] Observable responses to emotion (i.e., smiling) do not have a single meaning.
Duende or tener duende ("to have duende") is a Spanish term for a heightened state of emotion, expression and authenticity, often connected with flamenco. [1] Originating from folkloric Andalusian vocal music (canto jondo) [2] and first theorized and enhanced by Andalusian poet Federico García Lorca, [1] the term derives from "dueño de casa" (master of the house), which similarly inspired ...
The careful selection and application of colors help in setting the tone of the painting and guiding the viewer's emotional response. [26] [27] These six limbs collectively form a holistic approach to art, ensuring that each piece is not only a display of technical skill but also a profound expression of beauty, emotion, and cultural significance.