Expressing Feeling in Your Paintings
If you're like most people, you probably drew in coloring books, painted, or However, recently, artistic expression seems to be growing in popularity . Her research interests include positive emotions, close relationships, coping, and health. In psychology of art, the relationship between art and emotion has newly been the subject of . There are numerous instances of artists expressing self- conscious emotions in response to The sublime feeling has been connected to a feeling of happiness in response to art, but may be more related to an experience of fear. nervousness that gave you butterflies in your stomach; anger that burned you up; fear that stopped you cold; excitement that had you jumping for joy; love and.
Hostile emotions[ edit ] Hostile emotions toward art are often very visible in the form of anger or frustration, and can result in censorship, but are less easily described by a continuum of aesthetic pleasure-displeasure. Aesthetic chills Another common emotional response is that of chills when viewing a work of art.
Art and emotion
The feeling is predicted to be related to similar aesthetic experiences such as awe, feeling touched, or absorption. Researchers have tried to understand how experts interact with art so differently from the art naive, as experts tend to like more abstract compositions, and show a greater liking for both modern and classical types of art.
Researchers are interested in what types of experiences and emotions people are looking for when going to experience art in a museum. Authors have argued that the emotional experience is created explicitly by the artist and mimicked in the viewer, or that the emotional experience of art is a by-product of the analysis of that work.
Under appraisal theory, experts have a different emotional experience to art due to a preference for more complex works that they can understand better than a naive viewer.
The original theory argues that positive emotions are the result of a biobehavioral reward system, where a person feels a positive emotion when they have completed a personal goal. Five-step aesthetic experience[ edit ] Other theorists have focused their models on the disrupting and unique experience that comes from the interacting with a powerful work of art.
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An early model focused on a two-part experience: Pre-expectations and self-image[ edit ] The first stage of this model focuses on the viewer's expectations of the work before seeing it, based on their previous experiences, their observational strategies, and the relation of the work to themselves. Cognitive mastery and introduction of discrepancy[ edit ] After viewing the work of art, people will make an initial judgment and classification of the work, often based on their preconceptions of the work.
Secondary control and escape[ edit ] When an individual finds a discrepancy in their understanding that cannot be resolved or ignored, they move to the third stage of their interaction with a work of art.Q&A Part 2 - Relationship, Education, Career, Art, Fitness, Happiness
Meta-cognitive reassessment[ edit ] If viewers cannot escape or reassess the work, they are forced to reassess the self and their interactions with works of art. Aesthetic outcome and new mastery[ edit ] After the self-transformation and change in expectations, the viewer resets their interaction with the work, and begins the process anew with deeper self-understanding and cognitive mastery of the artwork.
Female portrait showing left-cheek orientation These effects are also seen when investigating the Western preference for left-facing portraits. This skew towards left-cheek is found in the majority of Western portraits, and is rated as more pleasing than other portrait orientations. This may be because the portraits were viewed as domineering, and the subsequent pupil response was due to unpleasantness.
Studies have shown that creating art can serve as a method of short-term mood regulation. Research participants asked to draw either an image related to a sad movie they just watched, or a neutral house, demonstrated less negative mood after the neutral drawing.
I look at my subject as if I was young child, seeing the subject for the first time. If you do this, you might see the world with awe and wonder, and feel the connection you have with everything around you. Feelings come from seeing what is in front of you, not just looking.
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Witness the texture, see the color, look for the light and shadow; enjoy these simple pleasures of sight that are often forgotten and ignored nowadays. Look at your subject with wonder, see the curves, notice the light — is it warm or cool? Close your eyes, interpret it in your mind, enhance it, turn up the volume to increase the brightness, soften the edges, and add atmosphere. See it with your soul, then paint exactly what you see and feel.
Choose a subject, and after studying it, close your eyes for a long while and see it in your mind. Now, without looking at the subject again, paint it. Do not copy it. You will be surprised what you did not see. The mind is a muscle just like your abs. If you do not use it, you will lose it. One has to work out a long time to get stronger. If you do this memory exercise at least once a week, you will see that your ability to paint what you remember seeing and feeling will improve.
Now, imagine seeing a subject, person, place or thing you remember from your past, like your first house, pet, or flowers in a garden. In your mind, change the light effects, your perspective, your mood, and you will find that there are endless possibilities.
Look at the vision in your mind with awe and wonder, and see it as if you are seeing it for the first time. Call a friend, a relative, or a neighbor, and describe it to them.