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Journal articles on the topic 'Art psychology'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

Frazzetto, Giovanni. "Psychology: Asylum art." Nature 475, no. 7357 (July 2011): 452–53. http://dx.doi.org/10.1038/475452a.

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2

Ottenberg, Simon. "African Vodun: Art, Psychology, and Power:African Vodun: Art, Psychology, and Power." Museum Anthropology 19, no. 2 (September 1995): 108–9. http://dx.doi.org/10.1525/mua.1995.19.2.108.

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3

Barlow, Gary C. "Depth Psychology of Art." Art Therapy 7, no. 3 (October 1990): 139–40. http://dx.doi.org/10.1080/07421656.1990.10758909.

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4

Oatley, Keith, and Maja Djikic. "Psychology of Narrative Art." Review of General Psychology 22, no. 2 (June 2018): 161–68. http://dx.doi.org/10.1037/gpr0000113.

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Artistic narrative has been recognized in fictional genres such as poetry, plays, novels, short stories, and films. It occurs also in nonfictional genres such as essays and biographies. We review evidence on the empirical exploration of effects of narrative, principally fiction, on how it enables people to become more empathetic, on how foregrounded phrases encourage readers to recognize the significance of events as if for the first time in ways that tend to elicit emotion, and on how literary works can help people to change their own personalities. We then suggest 3 principles that characterize narrative art in psychological terms: a focus on emotion and empathy, a focus on character, and a basis of indirect communication.
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5

Eisenstein, Sergei. "The Psychology of Art." Journal of Russian & East European Psychology 51, no. 5-6 (November 2, 2013): 192–99. http://dx.doi.org/10.1080/10610405.2013.1054244.

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6

Kapitan, Lynn. "Depth psychology of art." Arts in Psychotherapy 18, no. 1 (March 1991): 75–76. http://dx.doi.org/10.1016/0197-4556(91)90012-y.

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7

Stepanova, Mariya Vladimirovna. "INTEGRATION OF ART-PEDAGOGY AND ART-PSYCHOLOGY IN MUSICAL ART." Pedagogy. Issues of Theory and Practice, no. 1 (April 2018): 135–38. http://dx.doi.org/10.30853/pedagogy.2018-1.27.

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8

STOLERIU, Irina-Andreea. "The Portrait. A Possible Connection between Psychology and Art." Logos Universality Mentality Education Novelty. Section: Philosophy and Humanistic Sciences 03, no. 01 (June 30, 2015): 139–48. http://dx.doi.org/10.18662/lumenphs.2015.0301.10.

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9

Hargittai, Istvan, and Richard Woodfield. "Gombrich on Art and Psychology." Leonardo 30, no. 2 (1997): 160. http://dx.doi.org/10.2307/1576432.

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10

Burkalo, Nataliia. "ART THERAPY IN MODERN PSYCHOLOGY." Psychological journal 5, no. 9 (September 30, 2019): 189–204. http://dx.doi.org/10.31108/1.2019.5.9.13.

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11

Squire, Larry R. "Psychology: The art of remembering." Nature 472, no. 7341 (April 2011): 33–34. http://dx.doi.org/10.1038/472033a.

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12

Arnheim, Rudolf, and Richard Woodfield. "Gombrich on Art and Psychology." Journal of Aesthetic Education 32, no. 2 (1998): 113. http://dx.doi.org/10.2307/3333565.

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13

Leddy, Thomas, and Bjarne Sode Funch. "The Psychology of Art Appreciation." Journal of Aesthetic Education 34, no. 1 (2000): 118. http://dx.doi.org/10.2307/3333663.

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14

Carless, David, and Kitrina Douglas. "Bringing Art Back to Psychology." QMiP Bulletin 1, no. 22 (2016): 6–13. http://dx.doi.org/10.53841/bpsqmip.2016.1.22.6.

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15

Markov, Alexander V. "THE PSYCHOLOGY OF ART AS AN ART HISTORY DISCIPLINE." Articult, no. 4 (2022): 80–101. http://dx.doi.org/10.28995/2227-6165-2022-4-80-101.

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The article deals with the general educational and special function of the discipline “Psychology of Art” in the system of training art historians. It is proved that this discipline is a part of critical theories, propaedeutic for producing a critical attitude to both aesthetic experience and the usual forms of expression of this experience. Thus, the discipline compensates for shortcomings in the philosophical education of art critics and introduces the principles of constructing a theoretical system as a multiple introduction of new forms of reflection. The historical approach to reading the discipline never contradicts these projects of systematization. The study of the discipline allows students to form the experience of independent research, the fitness to find a theoretical productivity in prominent works on the theory and history of art, and finally, to formulate the problem not as a result of aesthetic experience or individual procedures of knowledge, but as an effect of accepting art as a dynamic system for evaluating and qualifying objects, processes, and actions.
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16

Becerra, Jesus Duenas. "Dance Art and Psychopathology." Psychology & Psychological Research International Journal 8, no. 4 (2023): 1–2. http://dx.doi.org/10.23880/pprij-16000378.

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In this article, the link between dance art and psychopathology is established, and at the same time, a master class is taught about hysteria and its clinical and psychodynamic interpretation, aimed primarily at residents of the specialty of Psychiatry, psychologists and students of Medicine and Psychology.
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17

Okvuran, Ayse. "What is and what is not art psychology?" New Trends and Issues Proceedings on Humanities and Social Sciences 5, no. 6 (September 14, 2018): 114–17. http://dx.doi.org/10.18844/prosoc.v5i6.3847.

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Similar to other scientific disciplines, art psychology, beginning at the end of the 19th century until the present day, can also be considered a science. The ancient concepts of mimesis and catharsis, for example, are extremely important and have been used in art psychology extensively. The emotions, thoughts, dreams and emotional fulfillment created by the artist are shared by the recipient of the artwork. Based on psychoanalytic theory, Sigmund Freud was able to explain Leonardo and Dostoevsky through their works and personalities. In this study, the content of art psychology, psychology theories on which art psychology is based and psychological processes related to artist-art work-recipient were investigated. In this research, a descriptive research model was used and the related resources and approaches were aimed to be determined. In the study, based on the existing sources an attempt was made to answer the question of what the field of art psychology is and is not.Keywords: Art psychology, psychology theories.
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18

Becerra, Jesus Duenas. "Psychology and Ballet: A Historical-Philosophical Reflection." Psychology & Psychological Research International Journal 9, no. 1 (2024): 1–3. http://dx.doi.org/10.23880/pprij-16000384.

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Putting science [and art] into everyday language; there is a great good that few do». With support from that Martian aphorism, I will develop this topic, whose fundamental objective is none other than to caress the intellect and aesthetic sensitivity of lovers of science and art.
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19

Rosin, Vadim M. "Three concepts of the Psychology of Art (correlation of discourses in psychology, art criticism, and philosophy)." National Psychological Journal 51, no. 3 (2023): 6–15. http://dx.doi.org/10.11621/npj.2023.0302.

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Background. At the present time, there has appeared a new interest in understanding the concepts of the psychology of art. The awareness of art and its works lags far behind the practice of artistic life, in which new types of works and new aesthetic concepts, often very different from traditional art forms, have appeared. The problem of demarcation of art and non-art has become aggravated, there is a need for a new cycle of awareness of art and artistic activity. Objective. The article seeks to analyze the characteristic types of concepts in psychology of art, to understand their structure. Considering the approaches in which such concepts were created, as well as scientific discourses and concepts used in this fields, the author focuses on the analyses of three types of approaches (discourses) — psychological, art criticism and philosophical and on understanding the relationships between them. Methods. The paper analyzes the concept of psychology of art by L.S. Vygotsky and one of his followers, V.S. Sobkin, on the example of the discussion of theatrical reincarnation, the concept of art by N.V. Rozhdestvenskaya and the concept of art proposed by the author. The discourses and concepts used in each concept (psychological and non-psychological) are considered, as well as the ways to identify the common structures in these concepts, which determine the contexts of psychological processes and structures. To explain the author's concept of the psychology of art, a case analysis in formation of artistic vision in childhood is proposed. Results. It is shown that in the first two concepts of psychology of art, two main discourses are used — psychological and art history, and in the third — philosophical, within which the whole is set (comprehension of art, artistic communication, artistic reality). The first two concepts differ in the ways of specifying the whole and psychological constructions (in the first, the psychological mechanism is indicated, in the second, a set of processes and structures). Psychological constructions in the third concept are mediated by knowledge of the whole, as a result, some of them are quite well known in psychology, while others are introduced as new concepts. At the end of the article, two more contexts of the whole are indicated: features of individual perception and experience of art, as well as general psychological conditions. Conclusion. Naturally, psychological, philosophical and art criticism approaches to and concepts of art do not coincide. However, many of the issues and theoretical distinctions related to them are either common or overlapping, indicating the interactions of these disciplines.
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20

Okoye, Ikem Stanley, Suzanne Preston Blier, Sarah C. Brett-Smith, and Annie Coombes. "African Vodun: Art, Psychology, and Power." Art Bulletin 80, no. 2 (June 1998): 390. http://dx.doi.org/10.2307/3051243.

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21

Adams, Monni, and Suzanne Preston Blier. "African Vodun: Art, Psychology, and Power." International Journal of African Historical Studies 29, no. 2 (1996): 429. http://dx.doi.org/10.2307/220560.

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22

Arnheim, Rudolf, and Seymour B. Sarason. "The Challenge of Art to Psychology." Leonardo 25, no. 1 (1992): 98. http://dx.doi.org/10.2307/1575637.

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23

Makarevičs, Valērijs. "ART PSYCHOLOGY: A SYMBOLYC PAINTING ANALYSIS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 26, 2017): 76. http://dx.doi.org/10.17770/sie2017vol4.2427.

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Painter at all times had interest in that, how an audience perceive their works. This problem touches the questions of aesthetics not only. The picture can not speak the words. But the color, objects and their position in space can convey the meaning of what is consciously or unconsciously, the author wanted to say. There is a method of knowledge the meanings of art. This is a symbolic analysis. We applied this method to the analysis of paintings by Russian artist Repin. Analysis of space objects and the colors of numerous works of the author allowed, as we think, to decipher the true meaning of the work of the author.
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24

Bay, Edna G., and Suzanne Preston Blier. "African Vodun: Art, Psychology, and Power." African Arts 31, no. 1 (1998): 12. http://dx.doi.org/10.2307/3337617.

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25

Freeman, Tyler E. "The Reconciliation of Art and Psychology." International Journal of Art & Design Education 33, no. 2 (June 2014): 184–94. http://dx.doi.org/10.1111/j.1476-8070.2014.01714.x.

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26

Furnham, Adrian. "Managerial psychology: state‐of‐the‐art." Journal of Managerial Psychology 22, no. 6 (August 21, 2007): 610–21. http://dx.doi.org/10.1108/02683940710778468.

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27

Brown, Steven D. "Psychology and the Art of Living." Theory & Psychology 11, no. 2 (April 2001): 171–92. http://dx.doi.org/10.1177/0959354301112002.

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28

Pufall, Peter B. "Framing a Developmental Psychology of Art." Human Development 40, no. 3 (1997): 169–80. http://dx.doi.org/10.1159/000278719.

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29

Sigel, Irving E., and Drew H. Gitomer. "The challenge of art to psychology." Journal of Applied Developmental Psychology 13, no. 4 (October 1992): 463–72. http://dx.doi.org/10.1016/0193-3973(92)90013-8.

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30

Lima, Marcelo Guimaraes. "From Aesthetics to Psychology: Notes on Vygotsky's Psychology of Art." Anthropology & Education Quarterly 26, no. 4 (December 1995): 410–24. http://dx.doi.org/10.1525/aeq.1995.26.4.05x1061u.

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31

Shang, Liyan, and Harleny binti Abd Arif. "Research on the application of art Education Psychology in Art Teaching activities." International Journal of Educational Research and Development 1, no. 1 (March 28, 2023): 43. http://dx.doi.org/10.56028/ijerd.1.1.43.2023.

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The objective things reflected in the human brain behavior, called mental activity. All human activities and behaviors are carried out in psychological manipulation. In art education, a variety of psychological activities are often accompanied. The psychology of art education occupies an important leading position in many branches of art. It not only has a serious impact on the development of comprehensive art skills, but also is a necessary entry basis for every learner. The esoteric content of art and the difficult teaching means have always been the most important and difficult problems for the majority of professionals to solve. This paper mainly analyzes and studies the concrete performance of art education psychology in art teaching activities.
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32

Andrijauskas, Antanas. "The Sources of the Psychology of Art and Its Place among the Disciplines That Study Art and Creativity." Arts 11, no. 5 (September 28, 2022): 96. http://dx.doi.org/10.3390/arts11050096.

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The goal of this article is to analyze, on the basis of today’s research strategies and the sources that deal with the psychology of Western art during the 20th century, the emerging field of the psychology of art and of its component, the psychology of the creative process, in different national traditions and in various fields of the humanities (aesthetics, the philosophy of art, experimental and general psychology, physiology, psychiatry, psychoanalysis, art history). Through comparative analysis, this article reveals how German-speaking countries, France, Great Britain, the United States, and the Soviet Union changed their attitude toward the artist, his creative potential, creative work, the creative process, and other problems of the psychology of art. The author devotes special attention to highlighting the distinctive ideas, theoretical positions, and main categories of the psychology of art in the West and in the great civilizations of the East (India, China, Japan). All of this has acquired exceptional importance in today’s metacivilizational culture, in which, as never before, there is active interaction between the ideas of various Eastern and Western peoples about the psychology of art. Finally, on the basis of a comparative analysis of today’s main national traditions relating to the psychology of art, this article highlights its place, functions, and role in the disciplines that study art.
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33

Li, Shanshan. "Art Works of Youth Aesthetic Psychology Education Based on the Integration of Environmental Perception and Sensing." Journal of Electrical Systems 20, no. 4s (April 8, 2024): 375–89. http://dx.doi.org/10.52783/jes.1924.

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Youth aesthetic psychology is mainly a branch of psychology that studies the psychological mechanism of people in painting, sculpture, photography, architecture and other art activities, and the psychological activities and laws of people in the creation or appreciation of these art works. Psychologists in the Soviet Union believed that the most basic problem of Youth aesthetic psychology was to study the psychological mechanism of the reaction to beauty when feeling art works. Therefore, we can also regard the appreciation of art works as an aesthetic activity. We can appreciate art works by studying the application and role of Youth aesthetic psychology, so that art appreciators can master aesthetic methods and improve aesthetic standards to a certain extent, and also can deeply resonate with the creator in spirit. This paper carries out the research of Youth aesthetic psychology art works with the perspective of environmental perception and sensor fusion, and combined with experiments to illustrate the effectiveness and superiority of this method.
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34

Roald, Tone. "Toward a Phenomenological Psychology of Art Appreciation." Journal of Phenomenological Psychology 39, no. 2 (2008): 189–212. http://dx.doi.org/10.1163/156916208x338783.

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AbstractExperiences with art have been of longstanding concern for phenomenologists, yet the psychological question of the appearing of art appreciation has not been addressed. This article attends to this lack, exemplifying the merits of a phenomenological psychological investigation based on three semi-structured interviews conducted with museum visitors. The interviews were subjected to meaning condensation as well as to descriptions of the first aesthetic reception, the retrospective interpretation, and the “horizons of expectations” included in the meeting with art. The findings show that art appreciation appears as variations in experiential forms comprised of gratifying experiences of beauty, challenges to the understanding, and bodily-informed alterations of the emotions. The phenomenological psychology of actual, lived experience can embrace the phenomenological theories of art appreciation by Heidegger and Merleau-Ponty, yet highlight the psychological importance of experiences with art.
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35

Calì, Carmelo. "Questions for the Psychology of the Artful Mind." Vision 3, no. 4 (November 21, 2019): 67. http://dx.doi.org/10.3390/vision3040067.

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This paper reconstructs the “Arnheim’s puzzle” over the psychology of art. It is argued that the long-established psychological theories of art do not account properly for the observable variability of art, which provide the phenomena of interest whose psychological factors need to be discovered. The general purpose principles of such theories, the ensuing selective sample of art phenomena, and assumption of conventional properties of aesthetic experience make the predictions and the findings of the theories unrepresentative of art. From the discussion of examples drawn from contemporary visual arts and the presentation of the debate on the emergence of the cognitive capacities of art in paleoanthropology, a construct is presented on the specificity of the cognitive capacities of art and its anchoring to perception, which solves the puzzle and has implications for research and teaching psychology of art.
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36

Funch, Bjarne Sode. "Emotions in the Psychology of Aesthetics." Arts 11, no. 4 (August 9, 2022): 76. http://dx.doi.org/10.3390/arts11040076.

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Ever since Alexander Gottlieb Baumgarten (1714–1762) introduced the concept of aesthetics, the prevailing idea has been that the fine arts provide an alternative source of knowledge to the traditional sciences. Art, however, has always been closely associated with emotions. Taking Baumgarten’s treatise on poetry as a point of departure, I argue that Baumgarten laid the ground for a conception of art that emphasizes emotion rather than cognition with a particular appeal to psychology to provide principles of aesthetic appreciation of art. This appeal is met here with a phenomenological discussion of a series of precepts within contemporary emotion theories, which provides the necessary and sufficient conditions for a psychological theory of aesthetic appreciation of art.
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37

Li, Enze. "Research on Visual Expression of Color Collocation in Art Education Based on Art Psychology." International Journal of Education and Humanities 3, no. 3 (July 26, 2022): 27–31. http://dx.doi.org/10.54097/ijeh.v3i3.1005.

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Art education is an indispensable part of today's education, and art psychology of colour collocation is an integral part of art education, the color is more integrated into People's Daily life and culture dissemination, applying colour collocation in art education, through the analysis of the basic theory of colour collocation, the colour collocation, the significance of art psychology as well as the visual expression of color collocation in various art education, a more detailed understanding of the importance of color collocation for art education.
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38

Tabata, Noriko, and Kaoru Hoshi. "Is Psychology a science or an art?" Proceedings of the Annual Convention of the Japanese Psychological Association 78 (September 10, 2014): 1EV—1–097–1EV—1–097. http://dx.doi.org/10.4992/pacjpa.78.0_1ev-1-097.

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39

Bornstein, Marc H., and Rudolf Arnheim. "New Essays on the Psychology of Art." Journal of Aesthetics and Art Criticism 45, no. 2 (1986): 200. http://dx.doi.org/10.2307/430563.

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40

Gokhan, Nurper. "Museum as Classroom: Exploring Psychology through Art." International Journal of the Inclusive Museum 3, no. 2 (2010): 133–44. http://dx.doi.org/10.18848/1835-2014/cgp/v03i02/44306.

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41

van Campen, Cretien. "Early Abstract Art and Experimental Gestalt Psychology." Leonardo 30, no. 2 (1997): 133. http://dx.doi.org/10.2307/1576424.

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42

Carrier, David, and Michael Kubovy. "The Psychology of Perspective and Renaissance Art." Leonardo 21, no. 1 (1988): 103. http://dx.doi.org/10.2307/1578439.

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43

Pariser, David, and Michael Kubovy. "The Psychology of Perspective and Renaissance Art." Leonardo 23, no. 4 (1990): 452. http://dx.doi.org/10.2307/1575361.

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44

Halonen, Jane S. "Abnormal Psychology as Liberating Art and Science." Journal of Social and Clinical Psychology 24, no. 1 (January 2005): 41–50. http://dx.doi.org/10.1521/jscp.24.1.41.59172.

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45

Potter, Charles. "Psychology and the Art of Programme Evaluation." South African Journal of Psychology 36, no. 1 (March 2006): 82–102. http://dx.doi.org/10.1177/008124630603600106.

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46

West, D. W. "Lev Vygotsky's Psychology of Art and Literature." Changing English 6, no. 1 (March 1999): 47–55. http://dx.doi.org/10.1080/1358684990060105.

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47

Kaptein, Ad A., Brian M. Hughes, Michael Murray, and Joshua M. Smyth. "Start making sense: Art informing health psychology." Health Psychology Open 5, no. 1 (January 2018): 205510291876004. http://dx.doi.org/10.1177/2055102918760042.

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Growing evidence suggests that the arts may be useful in health care and in the training of health care professionals. Four art genres – novels, films, paintings and music – are examined for their potential contribution to enhancing patient health and/or making better health care providers. Based on a narrative literature review, we examine the effects of passive (e.g. reading, watching, viewing and listening) and active (e.g. writing, producing, painting and performing) exposure to the four art genres, by both patients and health care providers. Overall, an emerging body of empirical evidence indicates positive effects on psychological and physiological outcome measures in patients and some benefits to medical training. Expressive writing/emotional disclosure, psychoneuroimmunology, Theory of Mind and the Common Sense Model of Self-Regulation are considered as possible theoretical frameworks to help incorporate art genres as sources of inspiration for the further development of health psychology research and clinical applications.
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48

Fujimoto, Kevin Lee. "The psychology of perspective and renaissance art." New Ideas in Psychology 12, no. 2 (July 1994): 224–25. http://dx.doi.org/10.1016/0732-118x(94)90122-8.

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49

Riess, Jonathan, and Michael Kubovy. "The Psychology of Perspective and Renaissance Art." Sixteenth Century Journal 19, no. 2 (1988): 259. http://dx.doi.org/10.2307/2540419.

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50

Richard Hickman. "Reflections on Art Making and Evolutionary Psychology." Journal of Aesthetic Education 50, no. 3 (2016): 1. http://dx.doi.org/10.5406/jaesteduc.50.3.0001.

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