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Enhancing aesthetic appreciation by priming canvases with actions that match the artist's painting style.

Ticini LF, Rachman L, Pelletier J, Dubal S - Front Hum Neurosci (2014)

Bottom Line: To what extent is art appreciation divorced from that activity and to what extent is it linked to it?That is the question which we set out to answer.We show that action priming, when congruent with the artist's painting style, enhanced aesthetic preference.

View Article: PubMed Central - PubMed

Affiliation: Institut du Cerveau et de la Moelle Épinière, ICM, Social and Affective Neuroscience (SAN) Laboratory Paris, France ; Sorbonne Universités, UPMC Univ Paris 06, UMR S 1127 Paris, France ; Inserm, U 1127 Paris, France ; CNRS, UMR 7225 Paris, France ; Institut Jean Nicod, CNRS-EHESS-ENS UMR 8129 Paris, France ; The Italian Society for Neuroaesthetics 'Semir Zeki' Trieste, Italy.

ABSTRACT
The creation of an artwork requires motor activity. To what extent is art appreciation divorced from that activity and to what extent is it linked to it? That is the question which we set out to answer. We presented participants with pointillist-style paintings featuring discernible brushstrokes and asked them to rate their liking of each canvas when it was preceded by images priming a motor act either compatible or incompatible with the simulation of the artist's movements. We show that action priming, when congruent with the artist's painting style, enhanced aesthetic preference. These results support the hypothesis that involuntary covert painting simulation contributes to aesthetic appreciation during passive observation of artwork.

No MeSH data available.


Related in: MedlinePlus

Visuomotor training. During the associative training, three images (A) depicting a right gloved-hand holding a paintbrush with a precision or a power grip (or rested palm down as control) instructed the participants to produce pointillist-style (B), and stroke-style (C), respectively.
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Figure 1: Visuomotor training. During the associative training, three images (A) depicting a right gloved-hand holding a paintbrush with a precision or a power grip (or rested palm down as control) instructed the participants to produce pointillist-style (B), and stroke-style (C), respectively.

Mentions: We first established an association between the participants' own movements and the creation of pointillist-style or stroke-style paintings. To achieve this, we presented the participants with one out of three right gloved-hand images (Figure 1A) displayed on a screen (in random order, for 10 s, 6 times each) that served as instruction for the subjects to perform the desired training with the right hand.


Enhancing aesthetic appreciation by priming canvases with actions that match the artist's painting style.

Ticini LF, Rachman L, Pelletier J, Dubal S - Front Hum Neurosci (2014)

Visuomotor training. During the associative training, three images (A) depicting a right gloved-hand holding a paintbrush with a precision or a power grip (or rested palm down as control) instructed the participants to produce pointillist-style (B), and stroke-style (C), respectively.
© Copyright Policy - open-access
Related In: Results  -  Collection

License
Show All Figures
getmorefigures.php?uid=PMC4043134&req=5

Figure 1: Visuomotor training. During the associative training, three images (A) depicting a right gloved-hand holding a paintbrush with a precision or a power grip (or rested palm down as control) instructed the participants to produce pointillist-style (B), and stroke-style (C), respectively.
Mentions: We first established an association between the participants' own movements and the creation of pointillist-style or stroke-style paintings. To achieve this, we presented the participants with one out of three right gloved-hand images (Figure 1A) displayed on a screen (in random order, for 10 s, 6 times each) that served as instruction for the subjects to perform the desired training with the right hand.

Bottom Line: To what extent is art appreciation divorced from that activity and to what extent is it linked to it?That is the question which we set out to answer.We show that action priming, when congruent with the artist's painting style, enhanced aesthetic preference.

View Article: PubMed Central - PubMed

Affiliation: Institut du Cerveau et de la Moelle Épinière, ICM, Social and Affective Neuroscience (SAN) Laboratory Paris, France ; Sorbonne Universités, UPMC Univ Paris 06, UMR S 1127 Paris, France ; Inserm, U 1127 Paris, France ; CNRS, UMR 7225 Paris, France ; Institut Jean Nicod, CNRS-EHESS-ENS UMR 8129 Paris, France ; The Italian Society for Neuroaesthetics 'Semir Zeki' Trieste, Italy.

ABSTRACT
The creation of an artwork requires motor activity. To what extent is art appreciation divorced from that activity and to what extent is it linked to it? That is the question which we set out to answer. We presented participants with pointillist-style paintings featuring discernible brushstrokes and asked them to rate their liking of each canvas when it was preceded by images priming a motor act either compatible or incompatible with the simulation of the artist's movements. We show that action priming, when congruent with the artist's painting style, enhanced aesthetic preference. These results support the hypothesis that involuntary covert painting simulation contributes to aesthetic appreciation during passive observation of artwork.

No MeSH data available.


Related in: MedlinePlus