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Journal articles on the topic 'Artists' psychology'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Braden, L. E. A. "Networks Created Within Exhibition: The Curators’ Effect on Historical Recognition." American Behavioral Scientist 65, no. 1 (October 15, 2018): 25–43. http://dx.doi.org/10.1177/0002764218800145.

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This research examines artist networks created by shared museum exhibition. While previous research on artistic careers assesses self-cultivated networks, historical recognition may be further influenced by connections created by important others, such as museum curators and art historians. I argue when museum exhibitions show artists together, curators are creating symbolic associations between artists that signal the artist’s import and contextualization within his or her peer group. These exhibition-created associations, in turn, influence historians who must choose a small selection of artists to exemplify a historical cohort. The research tests this idea through a cohort of 125 artists’ exhibition networks in the Museum of Modern Art, New York, from 1929 to 1968 (996 exhibitions). Individual network variables, such as number and quality of connections, are examined for impact on an artist’s recognition in current art history textbooks (2012-2014). Results indicate certain connections created by exhibition have a positive effect on historical recognition, even when controlling for individual accomplishments of the artist (such as solo exhibitions). Artists connected with prestigious artists through “strong symbolic ties” (i.e., repeated exhibition) tend to garner the most historical recognition, suggesting robust associations with historical peers may signify an artist’s exemplary status within his or her cohort, and consequent “good fit” into the historical narrative.

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Amanullah, Juni, and Fivin Bagus Septiya Pambudi. "“PSIKOLOGISENI” SENIMAN ANTARA PERSEPSI, FANTASI DAN EMOSI." SULUH: Jurnal Seni Desain Budaya 4, no. 1 (February 2, 2021): 89–103. http://dx.doi.org/10.34001/jsuluh.v4i1.2422.

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In the science of human psychology is a creature that has a soul and in a life that has a soul that is reflected in human behavior and activities in their daily lives. Beauty or aesthetics is something that is related to something beautiful and a special taste in enjoying it. In art life when an artist feels a lot of what is inside him, the results will be divested into a work of art. From the two disciplines of science between psychology and art, the writer uses psychological methods, namely perception, fantasy, feeling and emotion to dissect in the life of art with a subject, namely artists. Perception in the world of art by artists is the act of compiling, recognizing, and interpreting sensory information in order to provide a picture and understanding of the environment in the world of art. Artist's fantasy is something that is related to imagination or something that only exists in the mind or mind to be poured into a work of art. Artist's emotion is a feeling (intense / frequent) aimed at something more physical, that is, a work of art, the artist's emotions are expressed as a reaction to the results of an artist's perceptions and fantasies.

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3

Hanrahan, Stephanie J. "Sport Psychology and Indigenous Performing Artists." Sport Psychologist 18, no. 1 (March 2004): 60–74. http://dx.doi.org/10.1123/tsp.18.1.60.

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A group of students from the Aboriginal Centre for the Performing Arts participated in a mental skills training program that focused on goal setting, self-confidence development, and team building. There were 13 two-hour sessions held over a 20-week period. The participants, cultural issues, and the basic structure of the program are described. The author’s observations regarding competition, displays of affection, collective values, and the importance of family and nature are provided. The participants qualitatively evaluated the program. Conclusions related to group process, program structure, and diversity are presented. These conclusions should be of value in terms of shaping future group mental skills training programs.

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4

Sloboda, John. "Psychology for performing artists: Butterflies and bouquets." Personality and Individual Differences 19, no. 4 (October 1995): 595–96. http://dx.doi.org/10.1016/0191-8869(95)90002-0.

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5

Valentine, Elizabeth. "Psychology for performing artists—Butterflies and bouquets." Behaviour Research and Therapy 33, no. 2 (February 1995): 239–40. http://dx.doi.org/10.1016/0005-7967(95)90079-9.

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6

Vaughn, Michael Patrick. "Supermodel of the World: The Influence of Legitimacy on Genre and Creativity in Drag Music Videos." Social Psychology Quarterly 82, no. 4 (September 23, 2019): 431–52. http://dx.doi.org/10.1177/0190272519869314.

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Who gets to define what counts as art when a genre is in flux? In the present analysis, I find that legitimated artists may also be able to act as intermediaries, such as critics and gatekeepers. In doing so, these artists-as-intermediaries, under certain conditions, can shift the meaning of the genre as it transitions. Using the current transition of drag performance from scene-based to industry-based genre as a case, I present a multistage qualitative analysis of televised and digital drag performance. I report three key findings from this analysis: (1) some legitimated artists can become intermediaries when their genre is in transition, (2) these legitimated artists-as-intermediaries can influence genre expectations, and (3) legitimated artists-as-intermediaries’ influence on genre expectations can, in turn, influence the creative expression of other artists. Each of the three findings, however, has the effect of limiting creativity of the artist-as-intermediary and future artists within the industry-based genre.

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Pejić, Biljana S. "PSIHOLOŠKE STUDIJE LIČNOSTI UMETNIKA." Nasledje Kragujevac XX, no. 55 (2023): 219–33. http://dx.doi.org/10.46793/naskg2355.219p.

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The paper analyzes different theoretical and empirical approaches to the personality of the artist. It presents a synthesis of various relevant ideas and their perception from a more gen- eral level, to assemble these ideas into a broader picture concerning the issue of the artist’s per- sonality. The analysis shows that all psychological theories were focused on individual aspects of the personality of the artist. Psychoanalytic approaches are based on the idea of discovering personal neurotic roots hidden in the subconsciousness of the creator. Gestalt psychology sees creation as based on talent, and gift and the artist is observed as a person with specially devel- oped capabilities for perception and visual thinking. Humanistic psychology sees creativity as a universal human potential and trait theories are looking for the unique composition of personality traits in the artist. However, each one is individually important, because it con- tributed to the understanding of artistic creation and the personality of the artist as a whole. Throughout history, the artists were observed as great creators, or as madmen. Varieties and differences between the concepts could be understood by the fact that each artist is great and unique in his/her originality.

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Roslan, Aimi Atikah, Nurul Shima Taharuddin, and Nizar Nazrin. "The Psychology of Grey in Painting Backgrounds." Idealogy Journal 7, no. 2 (September 1, 2022): 1–7. http://dx.doi.org/10.24191/idealogy.v7i2.358.

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This writing is about a study of the psychology of the colour Gray used on the painting backgrounds. The study concerns how the colour Gray affects the behaviour of artists and has an impact on the production of works of art. A descriptive research using qualitative research method through surveys and observations as instrument. The artist uses the colour Gray as his guide in producing works to give a sense of emotional strength, feelings of melancholy, passion and so on. Each colour has a different psychological and emotional effect.

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9

Stack, Steven. "Suicide Among Artists." Journal of Social Psychology 137, no. 1 (February 1, 1997): 129–30. http://dx.doi.org/10.1080/00224549709595421.

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10

Moyle, Gene M. "Coaching performing artists." Consulting Psychology Journal: Practice and Research 71, no. 2 (June 2019): 97–106. http://dx.doi.org/10.1037/cpb0000127.

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11

Bobrova, Elena V. "Reflection of the artist`s personality in his pictorial work by the example of the self-portraits of some Omsk artists." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 61 (2021): 308–16. http://dx.doi.org/10.37816/2073-9567-2021-61-308-316.

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The paper touches upon the topic of the nature of art and the personality of an artist. As his main task the author sets to determine how the world of artist's experiences affects the output of his work, and while studying fundamental works in the field of aesthetics, psychology and psychoanalysis, he tries to answer the question of whether it is possible for an artist, sharing his personal experiences, not to become carrier of global ideas. The author considers the historical approaches toward these issues appealing to the paintings by Omsk artists M. Usova and G. Kichigin and mentions the increased interest in the self-portrait genre in the Siberian region. In addition, the author identifies the vector of development of the self-portrait genre in the field of contemporary art from the standpoint of the needs of modern society.

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12

van Rens, Fleur E. C. A., and Edson Filho. "Realizing, Adapting, and Thriving in Career Transitions From Gymnastics to Contemporary Circus Arts." Journal of Clinical Sport Psychology 14, no. 2 (June 1, 2020): 127–48. http://dx.doi.org/10.1123/jcsp.2018-0075.

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The purpose of this study was to explore the career transition experiences of elite gymnasts who became professional circus artists. Eight (inter)national level gymnasts who worked as circus artists were interviewed. Using a constructionist approach to thematic data analysis, we identified a three-phase career transition process. High levels of psychological resilience characteristics were required in the first, “realizing” phase (i.e., motivation, hard work, social support, and optimism). The second, “adapting” phase involved balancing context-specific demands which included general stress, a loss of competence, social adjustment, taking calculated risks, and physical recovery. The third, “thriving” phase involved experiences of freedom, personal development, and social connectedness. During the career transition, changes from an athletic to circus artist identity were experienced. Practitioners are encouraged to support the psychological resilience and experiences of autonomy among circus artists during their career transitions. This is expected to facilitate circus artists’ wellbeing, safety, and career longevity.

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13

Preti, Antonio, and Paola Miotto. "Suicide among Eminent Artists." Psychological Reports 84, no. 1 (February 1999): 291–301. http://dx.doi.org/10.2466/pr0.1999.84.1.291.

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To evaluate suicide risk by profession among eminent artists data from Garzanti's Encyclopaedia, a broad biographical repertory, were used. Six categories in the visual and literary arts were compared: architects, painters, sculptors, writers, poets, and playwrights. Only people whose deaths occurred in the 1800s or 1900s were included since it is likely that underestimation of suicide has been lower in the more recent centuries. A total of 59 suicides were observed in a sample of 3,093 people: this corresponds to a ratio of 1.90%. Suicides were 51 among men (ratio 1.75%) and 8 among women (ratio 4.30%). The comparison by profession indicates that poets and writers exceed the mean suicide ratio of the sample. Painters and architects, conversely, have a clearly lower risk than the mean. Mean age of suicides was 44 yr. ( SD = 12), with writers being slightly older (48 yr., SD = 12) than other artists. Artists who died of causes other than suicide reach a mean of 65 yr. ( SD = 10). Suicide among artists seems to have a peculiar pattern, clearly different from the pattern of the general population, wherein suicide risk is higher among men and older people. Adverse financial circumstances and the stress attributed to rejection of personal products may contribute to the specific risk of suicide among artists. The link between mental disorders, such as manic-depression, which imply a higher risk of suicide, and creativeness is discussed as a contributing factor.

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14

Bracegirdle, Hazel. "Book Review: Psychology for Performing Artists: Butterflies and Bouquets." British Journal of Occupational Therapy 58, no. 3 (March 1995): 133. http://dx.doi.org/10.1177/030802269505800324.

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15

Korzenik, Diana. "Gifted child artists." Creativity Research Journal 5, no. 3 (January 1992): 313–19. http://dx.doi.org/10.1080/10400419209534443.

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Chai, Fangyuan, Kaiping Peng, and Feng Yu. "Pricing Aesthetics: How Cognitive Perception Affects Bidding for Artworks." Social Behavior and Personality: an international journal 44, no. 4 (May 18, 2016): 541–54. http://dx.doi.org/10.2224/sbp.2016.44.4.541.

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There are few studies in which the focus is on cognitive determinants of artwork bidding. Using a micro approach, we explored factors that may influence bidders' offering from a psychological perspective. The 157 participants rated 25 paintings on the price they were willing to offer for works by famous Chinese artists executed in the traditional Chinese style and variants of the same works by a modern Chinese artist working in adaptations of the style of famous Western artists. Results showed that for both the Chinese and Western-style paintings in 3 price anchoring and 3 price nonanchoring conditions, 3 factors affected the bidding for the artworks: positive attraction, artistic quality, and cognitive stimulation. Of these factors positive attraction and artistic quality were the primary influences. In each condition, positive attraction was always the positive predictor of the bidders' offering, emphasizing the importance of the artwork's aesthetic value. In contrast, artistic quality deterred participants from bidding. In addition, whether or not there was a reference-point price made a difference in the traditional Chinese group of artworks. Bidders wished to offer a higher price only if the price had been high for the previous example of this artist's work that had sold.

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17

Lau, Sing, and Martin S. Lindauer. "Aging Artists' Creativity." American Journal of Psychology 120, no. 1 (April 1, 2007): 140. http://dx.doi.org/10.2307/20445385.

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18

Kozbelt, Aaron, and Yana Durmysheva. "Lifespan Creativity in a Non-Western Artistic Tradition: A Study of Japanese Ukiyo-E Printmakers." International Journal of Aging and Human Development 65, no. 1 (July 2007): 23–51. http://dx.doi.org/10.2190/166n-6470-1325-t341.

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Western cultures' conceptions about creativity emphasize originality and final products; Eastern cultures, skill and process. Does this cultural difference impact how creativity unfolds over the lifespan? To examine this, we investigated Japanese “ukiyo-e” printmaking (c. 1670–1865). Almost 2,000 illustrations of datable prints by 44 artists were found in 36 art books. Career landmarks (earliest, most frequent, and latest illustrated print) and eminence ratings were estimated for each artist. Results are largely consistent with prior research on Western samples: artists' career peaks vary greatly, averaging around age 40, and the most prolific artists usually (but not always) created the most popular prints. However, ukiyo-e artists show a more positive relation between career peak and eminence than Western artists, peak slightly later than their French (but not American) counterparts, and older artists created the most famous prints, compared to the West. Trans-historically, early-peaking ukiyo-e artists are concentrated between 1780 and 1800.

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Roncato, Sergio, and Fabio Roncato. "The Veiled Statuary: A Lesson from Sculpture to Vision Psychology." Art and Perception 7, no. 2-3 (November 29, 2019): 176–210. http://dx.doi.org/10.1163/22134913-20191120.

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Visual artists can be considered the precursors of students of the visual system. Paintings and graphic arts have been attentively examined by vision scientists, while sculpture has been considered less. Here we intend to fill this gap by illustrating how artists faced what seems an impossible challenge: to carve a stone so that it looks like a transparent veil. The success of the artists in reproducing the veil can be assessed by exploring the hundreds of Internet pages dedicated to ‘veiled statuary’. We chose some of the most admired statues and tried to ‘glean’ the sculptor’s technique. Two of these artworks are the work of Greek artists, the other statues were carved by baroque and modern sculptors. We did not find a single technique but, rather, a diversity of solutions, as is to be expected in an exploration in which opposites must be reconciled: an observer has to catch the presence of something elastic, thin, and transparent in a surface made of a rigid and opaque material. We checked the ability of the sculptor to render such properties by submitting samples of veiled statues to some observers who were asked to judge the strength of the veiling effect, and to categorize the perceived materials and features, such as transparency and thinness. The results confirm the artists’ knowledge of visual cues that are able to convey a complex set of information and meanings: material categorization, materials properties, perceptual decomposition of surfaces, completion of perceptual fragments into unitary percepts.

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Levytska, Oksana, and Nataliia Mocherniuk. "War Discourse in the Biographical Novels About Artists: Intermedial Aspect." Respectus Philologicus, no. 43 (48) (April 17, 2023): 98–109. http://dx.doi.org/10.15388/respectus.2023.43.48.112.

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War narrative in the biographical novels about painters has been analysed in their intermedial links with the paintings of said artists. The object of analysis is novels about the Spanish artist Francisco Goya written by Manfred Schneider, Carlos Rojas, and Jacek Dehnel; Ralf Dutli’s novel about Chaim Soutine; and a separate section dedicated to a selection of novels about Ukrainian artists: Ivan Holubkovskyi’s text about Oleksa Novakivskyi, Stanislav Stetsenko’s work about Mykola Hlushchenko, Kateryna Lebedieva’s book about Les Kozlovskyi, Volodymyr Yavorivskyi’s novel about Kateryna Bilokur. At the core of the study is the intermedial methodology based on theory by I. Rajewski, A. Hansen-Löve, S. Macenka, and A. Berger. Different aspects of war discourse in novels and its interaction with the creations of artists have been identified and highlighted, i.e., thematisation of war, description of painting creation, ekphrasis and references to works of art, use of art poetics in a literary text, aesthetics and psychology of creativity stipulated by war.

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Wargo, Mark A., Charles L. Spirrison, B. Michael Thorne, and Tracy B. Henley. "PERSONALITY CHARACTERISTICS OF MARTIAL ARTISTS." Social Behavior and Personality: an international journal 35, no. 3 (January 1, 2007): 399–408. http://dx.doi.org/10.2224/sbp.2007.35.3.399.

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This study used the MMPI-2 to explore the personalities of yellow-belt and black-belt martial artists. A total of 40 participants completed the MMPI-2 and a demographic questionnaire. Black-belt females tended to be less defensive than were other martial artists, but also displayed more paranoia and more anger than average. Females of both ranks reported a higher degree of anxiety and health concerns than did males in the study, and black-belt females also reported more family problems than did other groups. Finally, black belts in general reported more health concerns than did yellow belts.

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Kang, Xin, Wenyin Chen, and Jian Kang. "Art in the Age of Social Media: Interaction Behavior Analysis of Instagram Art Accounts." Informatics 6, no. 4 (December 7, 2019): 52. http://dx.doi.org/10.3390/informatics6040052.

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Instagram is the top preferred social media platform in the art world, however, we know little about the features of the most-liked artworks, and what role does the interaction between artists and followers play in the most-liked artworks? This study used quantitative and qualitative methods to examine the interaction between artists and followers on Instagram and the features of the most-liked artworks. Data from 706 artists’ accounts 497,649 posts on Instagram and 35 questionnaires. The results reveal that likes and comments were greatly influenced by interactions, with confusion and curiosity being a big reason to engage. The artist’s life experience and interaction with the followers had a positive influence on the most-liked artworks. Interaction with followers does not have much impact on their artistic creation, although artists expect more likes. Our study expands the research of mobile social media interaction in the art world, which is of great significance for the research on the interactive psychology of artwork and digital marketing communications on social media. The findings can also support future research on citizen curators and sociology analytics research areas.

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23

Sheldon, Kennon M. "Emotionality Differences between Artists and Scientists." Journal of Research in Personality 28, no. 4 (December 1994): 481–91. http://dx.doi.org/10.1006/jrpe.1994.1034.

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Pąchalska, Maria, and Jolanta Góral-Półrola. "VISUAL ART IN APHASIA THERAPY: THE LOST AND FOUND SELF." Acta Neuropsychologica 18, no. 2 (May 15, 2020): 149–81. http://dx.doi.org/10.5604/01.3001.0014.1355.

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Recently, the relationship between visual art and brain function and disease has raised considerable interest among neurologists, neuroscientists, and artists themselves. Visual art production involves multiple processes including basic motor skills, such as the coordination of movements, visual-spatial processing, emotional output, a socio-cultural context, as well as obviously creativity. Thus, the relationship between artistic output and brain diseases is particularly complex, and brain disorders may lead to an impairment of artistic production in multiple domains. Understanding the nature of aphasia, which leads to significant changes in human life in the physical, psychological, social and professional sphere, makes us aware of the importance of the individual (objective and subjective) and the social (collective and cultural) self system in the process of creation, especially in artists. Observing the works of artists with aphasia, we notice that each of them perceives the surrounding world differently. One wonders what makes them present reality in one way and not in another. It is true that all works of art show reality in thousands of different ways, and only an unoriginal artist will employ someone else's vision - one already used in a work. It should not be forgotten, however, that the work of artists with aphasia often takes on features resulting from the nature of the problems they face and is initially unoriginal, as they have to overcome fundamental technical difficulties and problems of technique. In this article, we present the possibilities for rehabilitation, of strengthening artists with aphasia, in order for them to find the self lost as a result of illness.

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Davies, Stephen. "Artists' intentions and artwork meanings: Some complications." Behavioral and Brain Sciences 36, no. 2 (March 18, 2013): 138–39. http://dx.doi.org/10.1017/s0140525x12001598.

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AbstractArtists' intentions are among the primary data retrieved by art appreciators. However, artistic creation is not always deliberate; artists sometimes fail in their intentions; artists' achievements depend on artworld roles, not only intentions; factors external to the artist contribute to artwork meaning; artworks stand apart from their creators; and interpretation need not be exclusively concerned with recovering intended meaning.

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Jiang, Yine, and Lantao Zhao. "The origin of bipolar disorder in ceramic artists from the perspective of positive psychology." CNS Spectrums 28, S2 (October 2023): S115. http://dx.doi.org/10.1017/s1092852923005424.

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BackgroundIn recent years, the proportion of bipolar disorder among ceramic artists has increased significantly. From the perspective of positive psychology, the study further analyzed the risk factors of bipolar disorder.Subjects and MethodsThe study recruited ceramic artist volunteers as research objects and divided them into a bipolar group and a non-bipolar group. According to artistic creativity, family, endocrine function and other factors of the study subjects data statistics. Statistical software Statistica was used for data analysis, and the T-test or correlation coefficient were used to evaluate the correlation of factors.ResultsBy analyzing the social media texts of science and engineering students, the study found several factors related to employment anxiety. In the bipolar group, the score of creative stress was significantly higher than that in the non-bipolar group (M=4.62 in the manic-depressive group and M=3.31 in the non-manic-depressive group, P<0.001). Competitive stress (M=3.81 in the manic-depressive group and M=2.92 in the non-manic-depressive group, P<0.001) and personal negative experience (M=4.19 in the manic-depressive group and M=3.24 in the non-manic-depressive group, P<0.001) also had significantly higher scores in the manic-depressive group.ConclusionsBased on the analysis of positive psychology, this study analyzed the causes of bipolar disorder induced by ceramic artists. Through statistical analysis using Statistica, the results showed that creativity, competitive pressure and personal negative experience were positively correlated with the manic-depressive index of ceramic artists. This study provides valuable information for psychological support measures for patients with bipolar disorder, thus promoting the artistic development of ceramists.

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Skaggs, Rachel. "Harmonizing Small-Group Cohesion and Status in Creative Collaborations: How Songwriters Facilitate and Manipulate the Cowriting Process." Social Psychology Quarterly 82, no. 4 (September 24, 2019): 367–85. http://dx.doi.org/10.1177/0190272519866830.

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Because of economically induced changes in record label contracts, recording artists are now required to cowrite their songs. Despite this obligation, many recording artists are unskilled as writers. For their professional songwriter teammates, using face-work to save the recording artist from the embarrassment of being an unskilled songwriter can be at odds with status maintenance in the larger social community if the collaboration results in a bad song. Interviews with 39 country songwriters revealed two key strategies for orienting the songwriting process toward writing a song that will allow for status maintenance among peers while still attending to group cohesion. Of the two strategies for achieving this goal, most common was a process of commercially oriented “bespoke facilitation” to match songs’ lyrical content to artists’ personal branding goals. In a second strategy, referred to as a “manipulation dance,” songwriters prewrite songs or portions of songs to guide the creative process toward content that will contribute to their status among industry peers. Both strategies rely on songwriters using face-work to be perceived as a “good hang” to keep the recording artist happy while still ensuring that the song is well crafted and will help to build and maintain their status. This study contributes to understanding how an individual working in a collaborative group might orient efforts toward maintaining status in a wider community while attending to group cohesion when the group has mismatched goals, skills, or tastes.

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Moulard, Julie Guidry, Dan Hamilton Rice, Carolyn Popp Garrity, and Stephanie M. Mangus. "Artist Authenticity: How Artists’ Passion and Commitment Shape Consumers’ Perceptions and Behavioral Intentions across Genders." Psychology & Marketing 31, no. 8 (July 9, 2014): 576–90. http://dx.doi.org/10.1002/mar.20719.

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Güss, C. Dominik, Ma Teresa Tuason, Noemi Göltenboth, and Anastasia Mironova. "Creativity Through the Eyes of Professional Artists in Cuba, Germany, and Russia." Journal of Cross-Cultural Psychology 49, no. 2 (September 14, 2017): 261–89. http://dx.doi.org/10.1177/0022022117730817.

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Creativity plays an important role in the advancement of all societies around the world, yet the role of cultural influences on creativity is still unclear. Following systems theory, activity theory, and ecocultural theory, semistructured interviews with 30 renowned artists (writers, composers, and visual artists) from Cuba, Germany, and Russia were conducted to explore the complexity of the creative process and potential cultural differences. All interviews were transcribed verbatim and analyzed using consensual qualitative research methodology. The following eight main domains resulted from the interviews: How I became an artist, What being an artist means to me, Creating as a cognitive process, Creating as an emotional process, Creating as a motivational process, Fostering factors of creativity, Hindering factors, and The role of culture in creating. Artists in the three countries similarly talked about creativity being a fluid process where ideas change, and elaborated on the role of intuition and the unconscious when creating art. Meaningful cross-cultural differences were seen among the artists of three cultural backgrounds in terms of attitudes about financial instability, in how they perceive themselves, in their art’s societal function, in the cognitive and in the emotional process of creating, and in terms of social connectedness. Results highlight (a) the complexity of the creative process going beyond cognitive factors and including motivational, emotional, and sociocultural factors, and (b) the cultural differences in the creative process. Results are beneficial for further developing a comprehensive theory of the creative process taking cultural differences into consideration.

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Hennekam, Sophie, and Dawn Bennett. "Involuntary career transition and identity within the artist population." Personnel Review 45, no. 6 (September 5, 2016): 1114–31. http://dx.doi.org/10.1108/pr-01-2015-0020.

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Purpose The purpose of this paper is to examine artists’ experiences of involuntary career transitions and its impact on their work-related identities. Design/methodology/approach Semi-structured interviews with 40 artists in the Netherlands were conducted. Self-narratives were used to analyze the findings. Findings Artists who can no longer make a living out of their artistic activities are forced to start working outside the creative realm and are gradually pushed away from the creative industries. This loss of their creative identity leads to psychological stress and grief, making the professional transition problematic. Moreover, the artistic community often condemns an artist’s transition to other activities, making the transition psychologically even more straining. Originality/value This study provides in-depth insights into how artists deal with changes in their work-related identities in the light of involuntary career transitions.

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31

Snow, Glen. "A psychoanalytical approach to visual artists." Psychodynamic Practice 19, no. 4 (November 2013): 438–40. http://dx.doi.org/10.1080/14753634.2013.853483.

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Mozur, Nancy. "About the Artists and Special Thanks." Psychological Perspectives 63, no. 2 (April 2, 2020): 168–70. http://dx.doi.org/10.1080/00332925.2020.1819099.

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Oesch, Nathan, and Igor Miklousic. "The Dating Mind: Evolutionary Psychology and the Emerging Science of Human Courtship." Evolutionary Psychology 10, no. 5 (December 1, 2012): 147470491201000. http://dx.doi.org/10.1177/147470491201000511.

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In the New York Times bestselling book The Game: Penetrating the Secret Society of Pickup Artists (2006), the world was granted its first exclusive introduction to the steadily growing dating coach and pick-up artist community. Many of its most prominent authorities claim to use insights and information gleaned both through first-hand experience as well as empirical research in evolutionary psychology. One of the industry's most well-respected authorities, the illusionist Erik von Markovik, promotes a three-phase model of human courtship: Attraction, building mutual Comfort and Trust, and Seduction. The following review argues that many of these claims are in fact grounded in solid empirical findings from social, physiological and evolutionary psychology. Two texts which represent much of this literature are critiqued and their implications discussed.

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Lee, Youngjae, and Ilho Park. "A Study on the Symbol of Self Archetype Appeared in E. Munch’s Series of <The Sun> in the Light of Jung’s Analytical Psychology." Korean Society of Culture and Convergence 44, no. 5 (May 31, 2022): 1175–90. http://dx.doi.org/10.33645/cnc.2022.5.44.5.1175.

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Edvard Munch is an important artist representing modernity in the world art history. This study aims to analyze Munch’s paintings in the latter half of his life by using Jung’s theory of analytical psychology, and to see how the artist’s self-realization process appears through symbols in the paintings. By comparing the symbolism of the sun and mandala represented in a series of works in his later years, <The Sun>, this study examines Jung’s individuation, and the archetype and symbolic theory of self-realization. It deals with <The Sun>, a series of works created in the second half of his life, not those created in first half of his life. <The Sun> was influenced by post-1910 vitalism. In this study, the works are studied in two aspects: content and form. The artist’s inner world is discovered through the analysis of the content, and in terms of the form, the color, form and composition are compared with mandala. In addition, by comparing the symbolism of the sun and mandala, Jung’s individuation and self-realization are considered along with archetype and symbolic theory. From the perspective of Jung’s analytical psychology, Munch is thought to be aware of his unconsciousness and be able to heal his inner side while understanding and accepting it. This series of processes is revealed through symbols, and expressed in works. In other words, it can be seen that his later works show the realization of his self through integration of his internal personalities. Works with a tendency toward expression symbolism, like Munch’s, can be sufficiently interpreted through Jung’s theory of analytical psychology. This is because works using symbols representing the archetype of the unconscious as the driving force of creation show the artist’s self-realization process. In the future, the author of this study looks forward to having opportunities to analyze many other works and artists through analytical psychology.

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Roy, Debdulal Dutta. "Personality Model of Fine Artists." Creativity Research Journal 9, no. 4 (October 1996): 391–94. http://dx.doi.org/10.1207/s15326934crj0904_10.

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Raffel, Burton. "Sawyer's review of artists all." Creativity Research Journal 7, no. 1 (January 1994): 90–92. http://dx.doi.org/10.1080/10400419409534513.

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Sawyer, Keith. "Raffel's critique of artists all." Creativity Research Journal 7, no. 2 (January 1994): 219–20. http://dx.doi.org/10.1080/10400419409534527.

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Mastandrea, Stefano, and William D. Crano. "Peripheral Factors Affecting the Evaluation of Artworks." Empirical Studies of the Arts 37, no. 1 (August 3, 2018): 82–91. http://dx.doi.org/10.1177/0276237418790916.

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The goal of the research was to determine whether artworks said to be created by famous artists were appreciated more than the same artworks attributed to nonfamous artists. Analysis indicated that the works attributed to famous artists were more appreciated than the identical works attributed to nonfamous artists: The works were liked more and judged more interesting and beautiful (all p values < .001). Participants ( N = 309), all art nonexperts, also were willing to pay more to see the works if described as created by famous artists ( p < .001); importantly, however, no differences were found in ratings of the works’ comprehensibility. This pattern of results suggests that judgmental variations were attributable to participants’ peripheral processing of factors not intrinsic to the work itself. Dual process models of attitudes, popular in social psychology, were invoked to provide a framework for understanding the findings.

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Wang, Yulu. "Art and Social Psychology: An Example from the Animation "All for Love." Academic Journal of Management and Social Sciences 2, no. 3 (May 22, 2023): 195–97. http://dx.doi.org/10.54097/ajmss.v2i3.8935.

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Magazine style shots, warm and cold shots. What is love?" against a gorgeous, colorful backdrop. The most powerful label for the animated film "All for Love" is that it is worth watching. The man smoking in the cafe stares at the people outside the camera and asks "What is love?" This is a thought-provoking question. The internet meeting, the phone booth, the tinkling car in Causeway Bay and the homeless man on the street corner are all extremely common images in social life. The artists use art to reflect the psychology of people in the current environment. The artists use their artworks to reflect the psychological problems of society under the influence of different social environments. This paper attempts a new analysis of animation in terms of Marxian literary theory, art and social psychology.

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Верещагіна-Білявська, Олена, and Катерина Швець. "Тоталітарні режими Європи та музика: хроніки протистояння." Мистецтво в культурі сучасності: теорія та практика навчання, no. 2 (December 18, 2023): 55–64. http://dx.doi.org/10.31652/3041-1017-2023(2)-07.

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The article analyses the relationship between artists and the totalitarian regimes that prevailed in Italy, Germany, and Ukraine in the twentieth century. The relevance of the topic is due to the need for a deep study of the processes that took place in the field of art in the twentieth century, since this era is characterised by close interconnections of artistic research with certain philosophical, aesthetic, and ideological systems. Musical life reflected the social processes that took place in different locations in Europe during that period, including the principles of neo-myth-making inherent in totalitarian ideologies. The mythologisation of mass consciousness required complete submission from art. Not all famous musicians were able to openly oppose the ideology of totalitarian regimes, as they felt an immediate danger to their own lives. The fascist and soviet regimes demonstrated all kinds of punitive systems in the face of disobedience and deviation of the artist's work from the general vector of artistic life - from doom to oblivion to complete moral and physical destruction. Based on existing studies by foreign and domestic scholars, the authors of the article aim to recreate the events of the creative life of famous artists in the context of their complex relationships with the authorities and confrontation with totalitarian regimes of the 1920s-1950s. Recreating such chronicles is a necessary component in creating a systematic view of the role of the artist in the sociocultural continuum. The complex and ambiguous relations with the authorities are examined on the example of the creative life of composers P. Hindemith and B. Martinů, conductors W. Furtwängler, H. von Karajan, O. Klemperer and A. Toscanini. Some of them took a position of outright opposition to the regime (A. Toscanini), others - of collaboration with it (H. von Karajan), and some made constant attempts to manoeuvre between their own conscience and the need to express support for the regime. Understanding the actions of each individual artist in the complex socio-cultural situation of the totalitarian regime is possible only if the specifics of social psychology and national culture are taken into account, which further requires an interdisciplinary approach to the study of the problem. Understanding the actions of each individual artist in the complex socio-cultural situation of the totalitarian regime is possible only if the specifics of social psychology and national culture are taken into account, which further requires an interdisciplinary approach to the study of the problem.

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Pring, Linda, Nicola Ryder, Laura Crane, and Beate Hermelin. "Creativity in savant artists with autism." Autism 16, no. 1 (April 12, 2011): 45–57. http://dx.doi.org/10.1177/1362361311403783.

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Citko, Katarzyna. "„And What is a Beautiful Poem”? Reflections of a Poet on Vlad Petre Glăveanu’s The Psychology of Creativity: A Critical Reading." Creativity. Theories – Research - Applications 2, no. 1 (June 1, 2015): 97–101. http://dx.doi.org/10.1515/ctra-2015-0015.

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AbstractI fully subscribe to Glăveanu’s opinions. I am not a psychologist, but as someone who specialises in culture and at the same time, as a poet, I believe that if the psychology of creativity is to say something truthful about the creative process, it should open up to the inner life of artists and to statistically unmeasurable processes such as talent and inspiration, rather than devise and carry out laboratory experiments. Therefore, encouraged by Glăveanu to pose innovative questions, in my article I ask about the essence of poetic inspiration, that is able to create images and lies at the root of metaphor which emerges in the mind of an artist.

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Kirschenbaum, Robert, and Sally Reis. "Conflicts in Creativity: Talented Female Artists." Creativity Research Journal 10, no. 2 (April 1, 1997): 251–63. http://dx.doi.org/10.1207/s15326934crj1002&3_14.

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Benjamin, Elliot. "The creative artist support group: a case study." Journal of Public Mental Health 13, no. 3 (September 9, 2014): 142–45. http://dx.doi.org/10.1108/jpmh-11-2013-0072.

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Purpose – The purpose of this paper is to describe the therapeutic benefits of a community-based creative artists support group. The author is also the participant/facilitator of the group, which has been ongoing for the past eight months. The relevant experiences of three participants in the group have been chosen, to briefly illustrate the diverse kinds of social and therapeutic value that people with creative artistic inclinations may benefit from. Design/methodology/approach – The philosophy of the author's facilitation of this creative artist support group is based upon the humanistic psychology foundations of Carl Rogers and Abraham Maslow, as well as the author's previous work on the relationship of the creative artist to mental disturbance and mental health. Findings – The pragmatic illustrations of therapeutic benefit from participation in this creative artist support group are directly related to the humanistic supportive atmosphere that is described in this paper as a cornerstone of the Artistic Theory of Psychology. Originality/value – This paper is highly original in the context of the author's description of his Artistic Theory of Psychology, which utilizes the foundation for the “successful creative artist” as being successful in both one's chosen artistic realm as well as making a satisfactory adjustment to day-to-day life. It should also be noted that this paper has been written in the context of a “brief case study” as discussed in August 2013 with the Journal of Public Mental Health editor.

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McArdle, Felicity, and Nerida Spina. "Children of Refugee Families as Artists." Australasian Journal of Early Childhood 32, no. 4 (December 2007): 50–53. http://dx.doi.org/10.1177/183693910703200409.

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Mozur, Nancy. "About the Artists: Victor Raphael and Clayton Spada." Psychological Perspectives 64, no. 1 (January 2, 2021): 6–8. http://dx.doi.org/10.1080/00332925.2020.1852811.

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Mozur, Nancy, and Mike Diehl. "About the Artists: Dennis Keeley and Mike Diehl." Psychological Perspectives 61, no. 4 (October 2, 2018): 412–13. http://dx.doi.org/10.1080/00332925.2018.1562799.

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Yeagle, Ellen H., Gayle Privette, and Frances Y. Dunham. "Highest Happiness: An Analysis of Artists' Peak Experience." Psychological Reports 65, no. 2 (October 1989): 523–30. http://dx.doi.org/10.2466/pr0.1989.65.2.523.

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Descriptions of peak experiences collected from 29 exhibiting artists were compared with parallel data from a comparison group of 123 men and women enrolled in university courses in social sciences. Each person narratively described a personal incident of highest happiness, then rated a series of descriptions on Likert-type scales. A multivariate analysis of variance indicated no significant differences in the two groups' descriptions of peak experience, and subsequent t tests showed no significant differences on any item. Responses from both groups provide a constellation of experiential correlates of the peak experience consistent with major theoretical descriptions of subjective characteristics of the event. Demographic differences between the groups, triggers, and experiential characteristics of peak experiences were examined. Differences on demographic variables and triggers and the absence of significant differences in the descriptions of peak experience suggest one approach that would bolster Maslow's position of the universality of the peak experience.

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Middleton, Sue. "Reimagining the subject of feminism: Six women artists." Emotion, Space and Society 4, no. 3 (August 2011): 197–99. http://dx.doi.org/10.1016/j.emospa.2011.02.003.

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Briguglio, Marie, Gilmour Camilleri, and Melchior Vella. "Artists, audiences & wellbeing: An economic analysis." International Journal of Wellbeing 10, no. 4 (September 30, 2020): 20–34. http://dx.doi.org/10.5502/ijw.v10i4.1205.

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