Personality, Expertise and the Perception of Contemporary Visual Arts
Keywords:
personality, expertise, contemporary visual artAbstract
The paper presents a study review on individual determinants of aesthetic perception. Among various personality traits, openness to experience appears to be the strongest predictor of art preferences in general, as well as the preference for non-traditional forms of art. The studies presented in the article show systematic differences between aesthetic experiences of experts and non-experts. This significant role of aesthetic training could be noticeably seen in relation to contemporary art. As a consequence of the characteristic features of contemporary art (such as ambiguity, recontextualization, layering) the interpretation of artwork, which is a part of aesthetic processing, resembles the problem solving process. Therefore, it could be expected that satisfactory aesthetic experience occurs more frequently in individuals with high ambiguity tolerance and expertise.References
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Chamorro-Premuzic, T., Furnham, A., Reimers, S., Hsu, A., Ahmetoglu, G. (2009). Who art thou? Personality predictors of artistic preferences in a large UK sample: The importance of openness. British Journal of Psychology, 100, 501-516.
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Cieciuch, J. (2013). Kształtowanie się systemu wartości od dzieciństwa do wczesnej dorosłości. Warszawa: Liberi Libri.
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Eskine, K. J., Kacinik, N., Prinz, J. J. (2012). Stirring images: Fear, not happiness or arousal, makes art more sublime. Emotion, 12(5), 1071-1074.
Feist, G., Brady, T. (2004). Openness to experience, non-conformity, and the preference for abstract art. Empirical Studies of the Arts, 22(1), 77-89.
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Furnham, A., Avison, M. (1997). Personality and preferences for surreal paintings. Personality and Individual Differences, 23(6), 923-935.
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Leder, H., Gerger, G., Dressler, S. G., Schabmann, A. (2012). How art is appreciated. Psychology of Aesthetics, Creativity, and the Arts, 6(1), 2-10.
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McCrae, R. R., Costa, P. T., Jr. (1997). Conceptions and correlates of openness to experience. W: R. Hogan, J. Johnson i S. Briggs (red.), Handbook of personality psychology (s. 825-847). San Diego: Academic Press.
McCrae, R., Costa, P. (2009). The five factor model of personality traits: Consensus and controversy. W: G., Mathews, P., Corr (red.), The Cambridge handbook of personality psychology (s. 148-161). Cambridge: University Press.
McManus, I. C., Furnham, A. (2006). Aesthetic activities and aesthetic attitudes: influences of education, background and personality on interest and involvement in the arts. British Journal of Psychology, 97(4), 555-587.
McLain, D. L. (2009). Evidence of the properties of an ambiguity tolerance measure: The Multiple Stimulus Types Ambiguity Tolerance Scale-II (MSTAT-II). Psychological Reports, 105(3), 975-988.
Mealey, L., Theis, P. (1995). The relationship between mood and preferences among natural landscapes: An evolutionary perspective. Ethology & Sociobiology, 16(3), 247-256.
Mills, K. (2001). Making meaning brings pleasure: The influence of titles on aesthetic experiences. Emotion, 1(3), 320-329.
Parsons, M. J. (1987). How we understand art: A cognitive developmental account of aesthetic experience. Cambridge: Cambridge University Press.
Rawlings, D., Barrantes-Vidal, N., Furnham, A. (2000). Personality and aesthetic preference in Spain and England: Two studies relating sensation seeking and openness to experience to liking for paintings and music. European Journal of Personality, 14(6), 553-576.
Russell, P. (2003). Effort after meaning and the hedonic value of paintings. British Journal of Psychology, 94, 99-110.
Russell, P.A., Milne, S. (1997). Meaningfulness and hedonic values of paintings: Effects of titles. Empirical Studies of the Arts, 15(1), 61-73.
Silvia, P. J. (2006). Artistic training and interest in visual art: Applying the appraisal model of aesthetic emotions. Empirical Studies of the Arts, 24(2), 139-161.
Silvia, P. J. (2007). Knowledge-based assessment of expertise in the arts: Exploring aesthetic fluency. Psychology of Aesthetics, Creativity, and the Arts, 1(4), 247-249.
Silvia, P., Brown, E. (2007). Anger, disgust, and the negative aesthetic emotions: Expanding anappraisal model of aesthetic experience. Psychology of Aesthetics, Creativity, and the Arts 1(2), 100-106.
Silvia, P. J., Nusbaum, E.C. (2011). On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences. Psychology of Aesthetics, Creativity, and the Arts, 5(3), 208-214.
Schwartz, S. H. (1992). Universals in the content and structure of values: Theory and empirical tests in 20 countries. W: M. Zanna (red.), Advances in experimental social psychology (t. 25, s. 1-65). New York: Academic Press.
Tinio, P. P. L. (2013). From Artistic Creation to Aesthetic Reception: The Mirror Model of Art. Psychology of Aesthetics, Creativity, and the Arts, 7(3), 265-275.
Tinio, P. P. L., Smith, J. K., Potts, K. (2010). The object and the mirror: The nature and dynamics of museum tours. International Journal of Creativity and Problem Solving, 20, 37-52.
Tobacyk, J. J., Myers, H., Bailey, L. (1981). Field-dependence, sensation-seeking, and preference of paintings. Journal of Personality Assessment 45(3), 270-277.
Welleditsch, D., Nadal, M., Leder, H. (2013). Spending time on art: The effect of context on art appreciation and viewing behavior. Poster zaprezentowany podczas 18th Meeting of the European Society for Cognitive Psychology, 29.08-1.09.2013, Budapest.
Zuckerman, M. (1994). Behavioral expressions and biosocial bases of sensation seeking. New York: Cambridge Press.
Berlyne, D. E. (1974). Studies in the new experimental aesthetics: Steps toward an objective psychology of aesthetic appreciation. Oxford: Hemisphere.
Berlyne, D. E. Ogilvie, J. C. Parham, L. C. (1968). The dimensionality of visual complexity, interestingness, and pleasingness. Canadian Journal of Psychology/Revue Canadienne de Psychologie, 22(5), 376-387.
Chamorro-Premuzic, T., Furnham, A. Reimers, S. (2007). The artistic personality. The Psychologist, 20(2), 84-87.
Chamorro-Premuzic, T., Furnham, A., Reimers, S., Hsu, A., Ahmetoglu, G. (2009). Who art thou? Personality predictors of artistic preferences in a large UK sample: The importance of openness. British Journal of Psychology, 100, 501-516.
Chamorro-Premuzic, T., Burke, C., Hsu, A., Swami, V. (2010). Personality predictors of artistic preferences as a function of the emotional valence and perceived complexity of paintings. Psychology of Hesthetic, Creativity and Hrts, 4(4), 196-204.
Chang, E. (2006). Interactive Experiences and Contextual Learning in Museums. Studies in Art Education, 47(2), 170-186.
Cieciuch, J. (2013). Kształtowanie się systemu wartości od dzieciństwa do wczesnej dorosłości. Warszawa: Liberi Libri.
Cooper, J. M., Silvia, P. (2009). Opposing art: Rejection as an action tendency of hostile aesthetic emotions. Empirical Studies of the Arts, 27(1), 109-126.
Costa, P.T., McCrae, R.R. (1992). Revised NEO Personality Inventory (NEO-PI-R) and NEO Five Factor Inventory (NEO-FFI) professional manual. Odessa: FL: Psychological Assessment Resources.
DeYoung, C. G., Quilty, L. C., Peterson, J. B. (2007). Between facets and domains: 10 aspects of the Big Five. Journal of Personality and Social Psychology, 93, 880-896.
Eskine, K. J., Kacinik, N., Prinz, J. J. (2012). Stirring images: Fear, not happiness or arousal, makes art more sublime. Emotion, 12(5), 1071-1074.
Feist, G., Brady, T. (2004). Openness to experience, non-conformity, and the preference for abstract art. Empirical Studies of the Arts, 22(1), 77-89.
Furnham, A., Bunyan, M. (1988). Personality and art preferences. European Journal of Personality, 2, 67-74.
Furnham, A., Avison, M. (1997). Personality and preferences for surreal paintings. Personality and Individual Differences, 23(6), 923-935.
Furnham, A., Walker, J. (2001). Personality and judgements of abstract, pop art, and representational paintings. European Journal of Personality, 15, 57-72.
Gavin, F. (2012). 102 nowych artystów. Warszawa: Wydawnictwo Arkady.
Gombrich, E. H. (2009). Zmysł porządku. O psychologii sztuki dekoracyjnej. Kraków: Universitas.
Gude, O. (2004). Postmodern Principles: In search of a 21st art education. Art Education, 57 (1), 6-14.
Housen, A. (2001). Eye of the beholder: Research, theory and practice. New York: Visual Understanding in Education.
Isen, A. M. (2009). A role for neuropsychology in understanding the facilitating influence of positive affect on social behavior and cognitive processes. W: S. J. Lopez, C. R. Snyder (red.), Oxford handbook of positive psychology (s. 503-518). New York: Oxford University Press.
Jacobsen, T. (2006). Bridging the arts and sciences: A framework for the psychology of aesthetics. Leonardo 39(2), 155-162.
Jakesh, M., Leder, H. (2009). Finding meaning in art: Preferred levels of ambiguity in art appreciation. Quarterly Journal of Experimental Psychology, 62(11), 2105-2112.
Leder, H., Belke, B., Oeberst, A., Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments, British Journal of Psychology, 95, 489-508.
Leder, H., Gerger, G., Dressler, S. G., Schabmann, A. (2012). How art is appreciated. Psychology of Aesthetics, Creativity, and the Arts, 6(1), 2-10.
Martindale, C., Moore, K., West, A. (1988). Relationship of preference judgments to typicality, novelty, and mere exposure. Empirical Studies of the Arts, 6(1), 79-96.
Mastandrea, S., Bartoli, G., Bove, G. (2009). Preferences for Ancient and Modern Art Museums: Visitor experiences and personality characteristics. Psychology of Aesthetics, Creativity, and the Arts, 3(3), 164-173.
Mastandrea, S., Bartoli, G., Carrus, G. (2011). The automatic aesthetic evaluation of different art and architectural styles. Psychology of Aesthetics, Creativity, and the Arts, 5(2), 126-134.
McCrae, R. R. (2007). Aesthetic chills as a universal marker of openness to experience. Motivation and Emotion, 31, 5-11.
McCrae, R. R., Costa, P. T., Jr. (1997). Conceptions and correlates of openness to experience. W: R. Hogan, J. Johnson i S. Briggs (red.), Handbook of personality psychology (s. 825-847). San Diego: Academic Press.
McCrae, R., Costa, P. (2009). The five factor model of personality traits: Consensus and controversy. W: G., Mathews, P., Corr (red.), The Cambridge handbook of personality psychology (s. 148-161). Cambridge: University Press.
McManus, I. C., Furnham, A. (2006). Aesthetic activities and aesthetic attitudes: influences of education, background and personality on interest and involvement in the arts. British Journal of Psychology, 97(4), 555-587.
McLain, D. L. (2009). Evidence of the properties of an ambiguity tolerance measure: The Multiple Stimulus Types Ambiguity Tolerance Scale-II (MSTAT-II). Psychological Reports, 105(3), 975-988.
Mealey, L., Theis, P. (1995). The relationship between mood and preferences among natural landscapes: An evolutionary perspective. Ethology & Sociobiology, 16(3), 247-256.
Mills, K. (2001). Making meaning brings pleasure: The influence of titles on aesthetic experiences. Emotion, 1(3), 320-329.
Parsons, M. J. (1987). How we understand art: A cognitive developmental account of aesthetic experience. Cambridge: Cambridge University Press.
Rawlings, D., Barrantes-Vidal, N., Furnham, A. (2000). Personality and aesthetic preference in Spain and England: Two studies relating sensation seeking and openness to experience to liking for paintings and music. European Journal of Personality, 14(6), 553-576.
Russell, P. (2003). Effort after meaning and the hedonic value of paintings. British Journal of Psychology, 94, 99-110.
Russell, P.A., Milne, S. (1997). Meaningfulness and hedonic values of paintings: Effects of titles. Empirical Studies of the Arts, 15(1), 61-73.
Silvia, P. J. (2006). Artistic training and interest in visual art: Applying the appraisal model of aesthetic emotions. Empirical Studies of the Arts, 24(2), 139-161.
Silvia, P. J. (2007). Knowledge-based assessment of expertise in the arts: Exploring aesthetic fluency. Psychology of Aesthetics, Creativity, and the Arts, 1(4), 247-249.
Silvia, P., Brown, E. (2007). Anger, disgust, and the negative aesthetic emotions: Expanding anappraisal model of aesthetic experience. Psychology of Aesthetics, Creativity, and the Arts 1(2), 100-106.
Silvia, P. J., Nusbaum, E.C. (2011). On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences. Psychology of Aesthetics, Creativity, and the Arts, 5(3), 208-214.
Schwartz, S. H. (1992). Universals in the content and structure of values: Theory and empirical tests in 20 countries. W: M. Zanna (red.), Advances in experimental social psychology (t. 25, s. 1-65). New York: Academic Press.
Tinio, P. P. L. (2013). From Artistic Creation to Aesthetic Reception: The Mirror Model of Art. Psychology of Aesthetics, Creativity, and the Arts, 7(3), 265-275.
Tinio, P. P. L., Smith, J. K., Potts, K. (2010). The object and the mirror: The nature and dynamics of museum tours. International Journal of Creativity and Problem Solving, 20, 37-52.
Tobacyk, J. J., Myers, H., Bailey, L. (1981). Field-dependence, sensation-seeking, and preference of paintings. Journal of Personality Assessment 45(3), 270-277.
Welleditsch, D., Nadal, M., Leder, H. (2013). Spending time on art: The effect of context on art appreciation and viewing behavior. Poster zaprezentowany podczas 18th Meeting of the European Society for Cognitive Psychology, 29.08-1.09.2013, Budapest.
Zuckerman, M. (1994). Behavioral expressions and biosocial bases of sensation seeking. New York: Cambridge Press.
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2014-12-01
How to Cite
Pietras, K. . (2014). Personality, Expertise and the Perception of Contemporary Visual Arts. Annales Universitatis Paedagogicae Cracoviensis Studia Psychologica, 7(1), 24–37. Retrieved from https://studia-psychologica.uken.krakow.pl/article/view/5600
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