Experiencing Art: In the Brain of the Beholder by Arthur Shimamura

By Arthur Shimamura

How can we enjoy a piece of paintings? Why can we like a few artistic endeavors yet no longer others? Is there no accounting for flavor? offered a Guggenheim Fellowship to discover connections among artwork, brain, and mind, Shimamura considers how we adventure paintings. In a considerate and pleasing demeanour, the publication explores how the mind translates artwork via enticing our sensations, strategies, and feelings. It describes attention-grabbing findings from mental and mind sciences in order to comprehend our aesthetic reaction to artwork.

Beauty, disgust, shock, anger, unhappiness, horror, and a myriad of different feelings can ensue as we adventure artwork. a few artistic endeavors might generate such emotions really quick, whereas others depend upon suggestion and information. Our reaction to artwork relies principally on what we know--from daily wisdom concerning the international, from our cultural backgrounds, and from own adventure. full of works of art from many traditions and time issues, "Experiencing artwork" bargains insightful methods of broadening one's strategy and appreciation of artwork.

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5 For more detailed information concerning philosophical approaches to art, see Barrett, T. (2008). Why Is That Art? New York: Oxford University Press. Beardsley, M. D. (1966). Aesthetics from Classical Greece to the Present. Alabama: University of Alabama Press. Graham, G. (2000). ). New York: Routledge Press. Levinson, J. ). (2003). The Oxford Handbook of Aesthetics. New York: Oxford University Press. 6 Flam, J. (1995). Matisse on Art (p. 66). Berkeley, CA: University of California Press. 25 26 chapter 1: Overture 7 For further development on an expressionist approach, see Robinson, J.

As a demonstration, make a rectangular window with your thumbs and fingers, as if you are framing the scene in front of you. Close one eye and move your head from side to side. Notice how the scene within the frame shifts with head movements. All realistic paintings, just as all snapshots taken from a camera, have a defined single viewpoint from which the scene is depicted. Realism and the mimetic approach to art has been a mainstay throughout the centuries. Even today, we are entertained by the sense of realism viewed through 3-D glasses at the movies.

An artist’s point of view stands as an essential feature of our art experience. Interestingly, how we “look” at an artwork may not be same as the artist’s intended point of view. The art critic Blake Gopnik10 has argued that we may not be “looking” at seventeenth century Dutch art as the artists had intended. 5). The viewpoint is so angled that the cupola on top of the building appears oddly distorted. If, however, you look at the painting from very close and near the bottom right corner, preferably with one eye, the distortion vanishes and the façade of the building appears to pop out of the picture plane.

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