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Raphael.
Raphael (1483-1520) was one of the three great masters of the Italian High Renaissance, with Michelangelo and Leonardo da Vinci. Despite his early death at 37, he left a corpus of paintings and drawings that includes the frescoed Raphael Rooms in the Vatican palace -- the central and largest work of his career -- and The School of Athens in the Vatican Stanza della Segnatura. Reviving a much beloved group of artist monographs from the Phaidon archive, the new 'Phaidon Classics' bring to life the fine craftsmanship and design of Phaidon books of the 1930s, 40s and 50s created by Ludwig Goldscheider - art historian, designer and co-founder of Phaidon Press. Updated with a contemporary \"classic\" design, full colour images and new introductions by leading specialists on the work of each artist, these elegantly crafted volumes revive the fine bookmaking of the first half of the twentieth century, making 'Phaidon Classics' instant collectors' items.-- Source other than Library of Congress.
BOOK
Vladimir Nabokov and the Art of Painting
Vladimir Nabokov was one of the greatest novelists of the previous century and his mastery of English and Russian prose is unequalled. Nabokov had originally trained to become a painter and shared Marc Chagall's tutor in Paris. In Nabokov and the Art of Painting the authors demonstrate how the art of painting is interwoven with the narratives. His novels, which refer to over a hundred paintings, show a brilliance of colours and light and dark are in a permanent dialogue with each other.Following the introduction describing the many associations Nabokov made between the literary and visual arts, several of his novels are discussed in detail: Laughter in the Dark, The Real Life of Sebastian Knight, Pnin, Lolita, Pale Fire and Ada. Separate chapters are devoted to Leonardo da Vinci and Hieronymus Bosch, as Nabokov had a special appreciation for both painters. The authors show how the pictorial gave an extra depth to the great themes of love and loss in Nabokov's work.
eBook
The National Gallery : masterpieces of painting
An exceptional introduction to European paintings from the Middle Ages to the early 20th century through one of the greatest collections in the world. This richly illustrated and beautifully designed book offers an ideal introduction to European painting from the 13th to the early 20th century. The National Gallery, London, houses one of the finest collections of Western European art in the world. Its extraordinary range includes exceptional paintings from medieval Europe through the early Renaissance and on to Post-Impressionism, including masterpieces by Leonardo, Hans Holbein, Titian, Velazquez, Rembrandt, Turner, Monet, and Van Gogh. This volume showcases more than 250 of the Gallery's most treasured pictures, providing an opportunity to make connections across this uniquely representative collection. Paintings are accompanied by numerous details, as well as brief and illuminating texts, providing an informative and visually rich survey of hundreds of years of European painting.
Book
Berlyne Revisited: Evidence for the Multifaceted Nature of Hedonic Tone in the Appreciation of Paintings and Music
In his seminal book on esthetics, Berlyne (1971) posited an inverted-U relationship between complexity and hedonic tone in arts appreciation, however, converging evidence for his theory is still missing. The disregard of the multidimensionality of complexity may explain some of the divergent results. Here, we argue that definitions of hedonic tone are manifold and systematically examined whether the nature of the relationship between complexity and hedonic tone is determined by the specific measure of hedonic tone. In Experiment 1, we studied three picture categories with similar affective and semantic contents: 96 affective environmental scenes, which were also converted into 96 cartoons, and 96 representational paintings. Complexity varied along the dimension of elements. In a between-subjects design, each stimulus was presented for 5 s to 206 female participants. Subjective ratings of hedonic tone (either beauty, pleasantness or liking), arousal, complexity and familiarity were collected in three conditions per stimulus set. Complexity and arousal were positively associated in all conditions, with the strongest association observed for paintings. For environmental scenes and cartoons, there was no significant association between complexity and hedonic tone, and the three measures of hedonic tone were highly correlated (all
> 0.85). As predicted, in paintings the measures of hedonic tone were less strongly correlated (all
> 0.73), and when controlling for familiarity, the association with complexity was significantly positive for beauty (
= 0.26), weakly negative for pleasantness (
= -0.16) and not present for liking. Experiment 2 followed a similar approach and 77 female participants, all non-musicians, rated 92 musical excerpts (15 s) in three conditions of hedonic tone (either beauty, pleasantness or liking). Results indicated a strong relationship between complexity and arousal (all
> 0.85). When controlling for familiarity effects, the relationship between complexity and beauty followed an inverted-U curve, whereas the relationship between complexity and pleasantness was negative (
= -0.26) and the one between complexity and liking positive (
= 0.29). We relate our results to Berlyne's theory and the latest findings in neuroaesthetics, proposing that future studies need to acknowledge the multifaceted nature of hedonic tone in esthetic experiences of artforms.
Journal Article
Effects of liking on visual attention in faces and paintings
The visual aesthetics of an object increases visual attention towards the object. It is argued that this relation between liking and attention is an evolutionary adaptation in sexual and natural selection. If this is the case, we would expect this relation to be domain specific, and thus, stronger for biological than for non-biological objects. To test this hypothesis, we conducted two eye-tracking studies, in which we compared the relation between liking and gaze patterns in images of biological (faces) and non-biological (paintings) stimuli. In Study 1, we presented randomly combined image pairs for 20 s in a free-viewing paradigm. Participants then selected the image they liked more in a 2-AFC task and rated the liking of each image on a Likert-scale. In Study 2, we employed the same paradigm but this time, images were combined based on pre-rated liking to ensure that images in each pair were clearly different. In both studies, we found a strong relation between liking and visual attention. Against our expectations, these effects were of similar magnitude for faces as for paintings. We conclude that the relation between liking and visual attention is not limited to biological objects but that its effects are domain general. The evolutionary function of the relation between liking and visual attention might stem from evolutionary adaptations, nonetheless, this link seems to be a rather basic phenomenon that applies across domains.
Journal Article
Examining Complexity across Domains: Relating Subjective and Objective Measures of Affective Environmental Scenes, Paintings and Music
Subjective complexity has been found to be related to hedonic measures of preference, pleasantness and beauty, but there is no consensus about the nature of this relationship in the visual and musical domains. Moreover, the affective content of stimuli has been largely neglected so far in the study of complexity but is crucial in many everyday contexts and in aesthetic experiences. We thus propose a cross-domain approach that acknowledges the multidimensional nature of complexity and that uses a wide range of objective complexity measures combined with subjective ratings. In four experiments, we employed pictures of affective environmental scenes, representational paintings, and Romantic solo and chamber music excerpts. Stimuli were pre-selected to vary in emotional content (pleasantness and arousal) and complexity (low versus high number of elements). For each set of stimuli, in a between-subjects design, ratings of familiarity, complexity, pleasantness and arousal were obtained for a presentation time of 25 s from 152 participants. In line with Berlyne's collative-motivation model, statistical analyses controlling for familiarity revealed a positive relationship between subjective complexity and arousal, and the highest correlations were observed for musical stimuli. Evidence for a mediating role of arousal in the complexity-pleasantness relationship was demonstrated in all experiments, but was only significant for females with regard to music. The direction and strength of the linear relationship between complexity and pleasantness depended on the stimulus type and gender. For environmental scenes, the root mean square contrast measures and measures of compressed file size correlated best with subjective complexity, whereas only edge detection based on phase congruency yielded equivalent results for representational paintings. Measures of compressed file size and event density also showed positive correlations with complexity and arousal in music, which is relevant for the discussion on which aspects of complexity are domain-specific and which are domain-general.
Journal Article
The power of color : five centuries of European painting
This expansive study of color illuminates the substance, context, and meaning of five centuries of European painting. Between the mid-15th and the mid-19th centuries, the materials of painting remained remarkably unchanged, but innovations in their use flourished. Technical discoveries facilitated new visual effects, political conditions prompted innovations, and economic changes shaped artists' strategies, especially as trade became global. Marcia Hall explores how Michelangelo radically broke with his contemporaries' harmonizing use of color in favor of a highly saturated approach; how the robust art market and demand for affordable pictures in 17th-century Netherlands helped popularize subtly colored landscape paintings; how politics and color became entangled during the French Revolution; and how modern artists liberated color from representation as their own role transformed from manipulators of pigments to visionaries celebrated for their individual expression. Using insights from recent conservation studies, Hall captivates readers with fascinating details and developments in magnificent examples-from Botticelli and Titian to Van Gogh and Kandinsky-to weave an engaging analysis. Her insistence on the importance of examining technique and material to understand artistic meaning gives readers the tools to look at these paintings with fresh eyes.
Book
Private and Shared Taste in Art and Face Appreciation
Whether beauty is in the eye of the beholder or shared among individuals is a longstanding question in empirical aesthetics. By decomposing the variance structure of data for facial attractiveness, it has been previously shown that beauty evaluations comprise a similar amount of private and shared taste (Hönekopp, 2006). Employing the same methods, we found that, for abstract artworks, components that vary between individuals and relate to personal taste are particularly strong. Moreover, we instructed half of our participants to disregard their own taste and judge stimuli according to the taste of others instead. Ninety-five women rated 100 abstract artworks for liking and 100 faces for attractiveness. We found that the private taste proportion was much higher in abstract artworks, accounting for 75% of taste compared to 40% in the face condition. Abstract artworks were also less affected than faces by the instruction to rate according to others' taste and therefore less susceptible to incorporation of external beauty standards. Together, our findings support the notion that art-and especially abstract art-crystallizes private taste.
Journal Article