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The Influence of Art Expertise and Training on Emotion and Preference Ratings for Representational and Abstract Artworks.

van Paasschen J, Bacci F, Melcher DP - PLoS ONE (2015)

Bottom Line: Results showed that art experts rated the artworks higher than novices on aesthetic facets (beauty and wanting), but no group differences were observed on affective evaluations (valence and arousal).The training session made a small effect on ratings of preference compared to the non-trained group of novices.Overall, these findings are consistent with the idea that affective components of art appreciation are less driven by expertise and largely consistent across observers, while more cognitive aspects of aesthetic viewing depend on viewer characteristics such as art expertise.

View Article: PubMed Central - PubMed

Affiliation: Center for Mind / Brain Sciences (CIMeC), University of Trento, Rovereto, Italy.

ABSTRACT
Across cultures and throughout recorded history, humans have produced visual art. This raises the question of why people report such an emotional response to artworks and find some works more beautiful or compelling than others. In the current study we investigated the interplay between art expertise, and emotional and preference judgments. Sixty participants (40 novices, 20 art experts) rated a set of 150 abstract artworks and portraits during two occasions: in a laboratory setting and in a museum. Before commencing their second session, half of the art novices received a brief training on stylistic and art historical aspects of abstract art and portraiture. Results showed that art experts rated the artworks higher than novices on aesthetic facets (beauty and wanting), but no group differences were observed on affective evaluations (valence and arousal). The training session made a small effect on ratings of preference compared to the non-trained group of novices. Overall, these findings are consistent with the idea that affective components of art appreciation are less driven by expertise and largely consistent across observers, while more cognitive aspects of aesthetic viewing depend on viewer characteristics such as art expertise.

No MeSH data available.


Example of materials used in the museum session.(A) An example of a hand-out displaying one of the exhibition rooms in the museum with artworks included in our stimulus set, to aid participants in identifying the correct paintings and their corresponding numbers on the rating sheet. (B) Part of the rating sheet used in the museum session.
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pone.0134241.g002: Example of materials used in the museum session.(A) An example of a hand-out displaying one of the exhibition rooms in the museum with artworks included in our stimulus set, to aid participants in identifying the correct paintings and their corresponding numbers on the rating sheet. (B) Part of the rating sheet used in the museum session.

Mentions: For practical reasons, it was not possible in the museum session to randomise the order in which the paintings were viewed. To minimise order effects, we used two different routes (clockwise and anticlockwise) via which participants made their way through the exhibition. Participants were randomly asked to follow either the clockwise or the anticlockwise route, and were provided with a map of the exhibition on which the six relevant rooms were highlighted. They performed a paper-and-pencil rating of all the artworks in the experiment (i.e. 100 abstract artworks and 50 portraits) on the four dimensions, which were printed to the right of a small image of the artwork on the rating sheet. We provided photographs of the relevant exhibition walls on which the paintings were numbered in a manner that corresponded with the rating sheet (Fig 2). The rating task was self-paced and took on average 1.5 to 2 hours to complete.


The Influence of Art Expertise and Training on Emotion and Preference Ratings for Representational and Abstract Artworks.

van Paasschen J, Bacci F, Melcher DP - PLoS ONE (2015)

Example of materials used in the museum session.(A) An example of a hand-out displaying one of the exhibition rooms in the museum with artworks included in our stimulus set, to aid participants in identifying the correct paintings and their corresponding numbers on the rating sheet. (B) Part of the rating sheet used in the museum session.
© Copyright Policy
Related In: Results  -  Collection

License
Show All Figures
getmorefigures.php?uid=PMC4526639&req=5

pone.0134241.g002: Example of materials used in the museum session.(A) An example of a hand-out displaying one of the exhibition rooms in the museum with artworks included in our stimulus set, to aid participants in identifying the correct paintings and their corresponding numbers on the rating sheet. (B) Part of the rating sheet used in the museum session.
Mentions: For practical reasons, it was not possible in the museum session to randomise the order in which the paintings were viewed. To minimise order effects, we used two different routes (clockwise and anticlockwise) via which participants made their way through the exhibition. Participants were randomly asked to follow either the clockwise or the anticlockwise route, and were provided with a map of the exhibition on which the six relevant rooms were highlighted. They performed a paper-and-pencil rating of all the artworks in the experiment (i.e. 100 abstract artworks and 50 portraits) on the four dimensions, which were printed to the right of a small image of the artwork on the rating sheet. We provided photographs of the relevant exhibition walls on which the paintings were numbered in a manner that corresponded with the rating sheet (Fig 2). The rating task was self-paced and took on average 1.5 to 2 hours to complete.

Bottom Line: Results showed that art experts rated the artworks higher than novices on aesthetic facets (beauty and wanting), but no group differences were observed on affective evaluations (valence and arousal).The training session made a small effect on ratings of preference compared to the non-trained group of novices.Overall, these findings are consistent with the idea that affective components of art appreciation are less driven by expertise and largely consistent across observers, while more cognitive aspects of aesthetic viewing depend on viewer characteristics such as art expertise.

View Article: PubMed Central - PubMed

Affiliation: Center for Mind / Brain Sciences (CIMeC), University of Trento, Rovereto, Italy.

ABSTRACT
Across cultures and throughout recorded history, humans have produced visual art. This raises the question of why people report such an emotional response to artworks and find some works more beautiful or compelling than others. In the current study we investigated the interplay between art expertise, and emotional and preference judgments. Sixty participants (40 novices, 20 art experts) rated a set of 150 abstract artworks and portraits during two occasions: in a laboratory setting and in a museum. Before commencing their second session, half of the art novices received a brief training on stylistic and art historical aspects of abstract art and portraiture. Results showed that art experts rated the artworks higher than novices on aesthetic facets (beauty and wanting), but no group differences were observed on affective evaluations (valence and arousal). The training session made a small effect on ratings of preference compared to the non-trained group of novices. Overall, these findings are consistent with the idea that affective components of art appreciation are less driven by expertise and largely consistent across observers, while more cognitive aspects of aesthetic viewing depend on viewer characteristics such as art expertise.

No MeSH data available.