From artistic creation to aesthetic reception: The mirror model of art

Psychology of Aesthetics, Creativity, and the Arts

Volumn 7, Issue 3, 2013, Pages 265-275

  Tinio, Pablo P L ^a  

^a CITY UNIVERSITY OF NEW YORK   (United States)

Author keywords

Aesthetics; Art making; Creativity; Painting; Psychology of art

Indexed keywords

EID: 84882981113     PISSN: 19313896     EISSN: 1931390X     Source Type: Journal    
DOI: 10.1037/a0030872     Document Type: Article

References (66)

1. Arnheim, R. (1954/1974). Art and visual perception. Berkeley, CA: University of California Press.
2. Arnheim, R. (1962). The genesis of a painting. Picasso's Guernica. Berkeley, CA: University of California Press.
3. Arnheim, R. (1969). Visual thinking. Berkeley, CA: University of California Press.
4. Barron, F. (1955). The disposition toward originality. Journal of Abnormal and Social Psychology, 51, 478-485.
5. Belke, B., Leder, H., & Augustin, M. D. (2006). Mastering style-Effects of explicit style-related information, art knowledge and affective state on appreciation of abstract paintings. Psychology Science, 48, 115-134.
6. Berlyne, D. E. (1971). Aesthetics and psychobiology. New York, NY: Appleton-Century-Crofts.
7. Burnstock, A., Hale, C., Campbell, C., & Macaro, G. (2010). Cézanne's development of thecard players. In N. Ireson & B. Wright (Eds.), Cézanne's card players (pp. 35-53). London, UK: The Courtauld Gallery.
8. Chatterjee, A. (2003). Prospects for a cognitive neuroscience of visual aesthetics. Bulletin of Psychology and the Arts, 4, 55-60.
9. Chave, A. C. (1994). New encounters with Les Demoiselles d'Avignon: Gender, race, and the origins of cubism. The Art Bulletin, 76, 596-611.
10. Csikszentmihalyi, M. (1990). Flow: The psychology of optimal experience. New York, NY: Harper Collins Publishers.
11. Csikszentmihalyi, M., & Robinson, R. E. (1990). The art of seeing: An interpretation of the aesthetic encounter. Malibu, CA: The J. Paul Getty Museum.
12. Cupchik, G. C., & Gebotys, R. J. (1988). The search for meaning in art: Interpretative styles and judgments of quality. Visual Arts Research, 14, 38-50.
13. Dik, J., Janssens, K., van der Snickt, G., van der Loeff, L., Rickers, K., & Cotte, M. (2008). Visualization of a lost painting by Vincent van Gogh using synchrotron radiation based X-ray fluorescence elemental mapping. Analytical Chemistry, 80, 6436-6442. doi:10.1021/ac800965g
14. Elderfield, J. (2011). de Kooning: A retrospective. New York, NY: The Museum of Modern Art.
15. Fechner, G. T. (1876). Vorschule der Ä sthetik [Primary school of aesthetics]. Leipzig, Germany: Breitkopf & Härtel.
16. Gombrich, E. H. (1960). Art and illusion: A study in the psychology of pictorial representation. Princeton, NJ: Princeton University Press.
17. Guilford Press, J. P. (1950). Creativity. American Psychologist, 5, 444-454. doi:10.1037/h0063487
18. Guilford Press, J. P. (1967). The nature of human intelligence. New York, NY: McGraw-Hill.
19. Hekkert, P., & van Wieringen, P. C. W. (1996). Beauty in the eye of expert and nonexpert beholders: A study in the appraisal of art. The American Journal of Psychology, 109, 389-407. doi:10.2307/142
20. Ireson, N., & Wright, B. (2010a). Cézanne's card players: An introduction. In N. Ireson & B. Wright (Eds.), Cézanne's card players (pp. 15-32). London: The Courtauld Gallery.
21. Ireson, N., & Wright, B. (2010b). Catalogue. In N. Ireson & B. Wright (Eds.), Cézanne's card players (pp. 92-151). London, UK: The Courtauld Gallery.
22. Itti, L., & Koch, C. (2001). Computational modelling of visual attention. Nature Reviews Neuroscience, 2, 194-203. doi:10.1038/35058500
23. Itti, L., Koch, C., & Niebur, E. (1998). A model of saliency-based visual attention for rapid scene analysis. IEEE Transactions on Pattern Analysis and Machine Intelligence, 20, 1254-1259. doi:10.1109/34.730558
24. Jaarsveld, S., & van Leeuwen, C. (2005). Sketches from a design process: Creative cognition inferred from intermediate products. Cognitive Science, 29, 79-101. doi:10.1207/s15516709cog2901_4
25. Jacobsen, T. (2006). Bridging the arts and sciences: A framework for the psychology of aesthetics. Leonardo, 39, 155-162. doi:10.1162/leon.2006.39.2.155
26. Koelsch, S., & Siebel, W. A. (2005). Towards a neural basis of music perception. Trends in Cognitive Sciences, 9, 578-584. doi:10.1016/j.tics.2005.10.001
27. Kreitler, H., & Kreitler, S. (1972). Psychology of the arts. Durham, NC: Duke University Press.
28. Krumrine, M. L. (1989). Paul Cézanne: The Bathers. Basel, Switzerland: Öffentliche Kunstsammlung Basel.
29. Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95, 489-508.
30. Leder, H., Gerger, G., Dressler, S. G., & Schabmann, A. (2012). How art is appreciated. Psychology of Aesthetics, Creativity, and the Arts, 6, 2-10. doi:10.1037/a0026396
31. Locher, P. J. (2003). An empirical investigation of the visual rightness theory of picture perception. Acta Psychologica, 114, 147-164. doi: 10.1016/j.actpsy.2003.07.001
32. Locher, P. J. (2010). How does a visual artist create an artwork? In J. Kaufman, & R. Sternberg (Eds.), Cambridge handbook of creativity (pp. 131-144). Cambridge, UK: Cambridge University Press.
33. Locher, P., Overbeeke, K., & Wensveen, S. (2010). Aesthetic interaction: A framework. Design Issues, 26, 70-79. doi:10.1162/DESI_a_00017
34. Mace, M. A., & Ward, T. (2002). Modeling the creative process: A grounded theory analysis of creativity in the domain of art making. Creativity Research Journal, 14, 179-192. doi:10.1207/S15326934CRJ1402
35. Marr, D. (1982): Vision. San Francisco, CA: Freeman.
36. McManus, I. C. (2005). Symmetry and asymmetry in aesthetics and the arts. European Review, 13, 157-180. doi:10.1017/S1062798705000736
37. McManus, I. C., Edmondson, D., & Rodger, J. (1985). Balance in pictures. British Journal of Psychology, 76, 311-324. doi:10.1111/j.2044-8295.1985.tb01955.x
38. Millis, K. (2001). Making meaning brings pleasure: The influence of titles on aesthetic experiences. Emotion, 1, 320-329. doi:10.1037/1528-3542.1.3.320
39. Pelowski, M., & Akiba, F. (2011). A model of art perception, evaluation and emotion in transformative aesthetic experience. New Ideas in Psychology, 29, 80-97. doi:10.1016/j.newideapsych.2010.04.001
40. Penrose, R. (1981). Picasso: His life and work. Berkeley, CA: University of California Press.
41. Pitman, B., & Hirzy, E. (2010). Ignite the power of art: Advancing visitor engagement in museums. Dallas, TX: Dallas Museum of Art.
42. Pollock, J. (1950). Interview with William Wright [Transcript]. In C. Harrison & P. Wood (Eds.), Art in theory: 1900-2000 (p. 585). Oxford, UK: Blackwell Publishing.
43. Rubin, W., Seckel, H., & Cousins, J. (1994). Les Demoiselles d'Avignon. New York, NY: The Museum of Modern Art.
44. Russell, P. A. (2003). Effort after meaning and the hedonic value of paintings. British Journal of Psychology, 94, 99-110. doi:10.1348/000712603762842138
45. Russell, P. A., & Milne, S. (1997). Meaningfulness and hedonic value of paintings: Effects of titles. Empirical Studies of the Arts, 15, 61-73.
46. Silvia, P. J. (2005). Emotional responses to art: From collation and arousal to cognition and emotion. Review of General Psychology, 9, 342-357. doi:10.1037/1089-2680.9.4.342
47. Silvia, P. J. (2009). Looking past pleasure: Anger, confusion, disgust, pride, surprise and other unusual aesthetic emotions. Psychology of Aesthetics, Creativity, and the Arts, 3, 48-51. doi:10.1037/a0014632
48. Silvia, P. J., & Brown, E. (2007). Anger, disgust, and the negative aesthetic emotions: Expanding an appraisal model of aesthetic experience. Psychology of Aesthetics, Creativity, and the Arts, 1, 100-106. doi:10.1037/1931-3896.1.2.100
49. Simonton, D. K. (1999). Creativity as blind variation and selective retention: Is the creative process Darwinian. Psychological Inquiry, 10, 309-328. doi:10.2307/1422985
50. Simonton, D. K. (2007). Picasso's Guernica creativity as a Darwinian process: Definitions, clarifications, misconceptions, and applications. Creativity Research Journal, 19, 381-394. doi:10.1080/10400410701753341
51. Smith, J. K., & Carr, D. W. (2001). In Byzantium. Curator, 44, 335-354. doi:10.1111/j.2151-6952.2001.tb01174.x
52. Smith, J. K., & Smith, L. F. (2001). Spending time on art. Empirical Studies of the Arts, 19, 229-236.
53. Stevens, M., & Swan, A. (2004). de Kooning. New York, NY: Knopf.
54. Temme, J. E. V. (1997). Amount and kind of information in museums: Its effects on visitors' satisfaction and appreciation of art. Visual Arts Research, 18, 74-81.
55. Tinio, P. P. L., & Leder, H. (2009a). Just how stable are stable aesthetic features. Symmetry, complexity, and the jaws of massive familiarization. Acta Psychologica, 130, 241-250. doi:http://dx.doi.org/10.1016/j. actpsy.2009.01.001
56. Tinio, P. P. L., & Leder, H. (2009b). Natural scenes are indeed preferred, but image quality might have the last word. Psychology of Aesthetics, Creativity, and the Arts, 3, 52-56. doi:10.1037/a0014835
57. Tinio, P. P. L., & Leder, H. (in press). The means to art's end: Styles, creative devices, and the challenge of art. In A. S. Bristol, J. C. Kaufman & O. Vartanian (Eds.), The neuroscience of creativity.
58. Tinio, P. P. L., Leder, H., & Strasser, M. (2010). Image quality and the aesthetic judgment of photographs: Contrast, sharpness, and grain teased apart and put together. Psychology of Aesthetics, Creativity, and the Arts, 5, 165-176. doi:10.1037/a0019542
59. Tinio, P. P. L., Smith, J. K., & Potts, K. (2010). The object and the mirror: The nature and dynamics of museum tours. International Journal of Creativity and Problem Solving, 20, 37-52.
60. Van Cleave, C. (2007). Master drawings of the Italian Renaissance. Cambridge, MA: Harvard University Press.
61. Vartanian, O., & Nadal, M. (2007). A biological approach to a model of aesthetic experience. In L. Dorfman, C. Martindale & V. Petrov (Eds.), Aesthetics and innovation (pp. 429-444). Newcastle, UK: Cambridge Scholars Publishing.
62. Verstijnen, I. M., van Leeuwen, C., Goldschmidt, G., Hamel, R., & Hennessey, J. M. (1998). Creative discovery in imagery and perception: Combining is relatively easy, restructuring takes a sketch. Acta Psychologica, 99, 177-200. doi:10.1016/S0001-6918(98)00010-9
63. Vessel, E. A., Starr, G. G., & Rubin, N. (2012). The brain on art: Intense aesthetic experience activates the default mode network. Frontiers in Human Neuroscience, 6, 1-17. doi:10.3389/fnhum.2012.00066
64. Vygotsky, L. S. (1971). The psychology of art. Cambridge, MA: MIT Press.
65. Weisberg, R. W. (2004). On structure in the creative process: A quantitative case-study of the creation of Picasso's Guernica. Empirical Studies of the Arts, 22, 23-54. doi:10.2190/EH48-K59C-DFRB-LXE7
66. Weisberg, R. W., & Haas, R. (2007). We are all partly right: Comment on Simonton. Creativity Research Journal, 19, 345-360. doi:10.1080/10400410701753309