The Emotional Perception of Art Art has a rare capability of evoking different emotions in different people. Two people can look at the same piece of art and see two images that are entirely dissimilar. What one perceives while looking at art depends on a person’s state of mind. If one is happy, he or she will find something cheerful and pleasing in the work of art. However, if one is depressed or going through a hard time, it will be as if they are looking at two paintings or two sculptures that are totally unalike. The artist’s purpose in creating his or her masterpiece is to create something that will make the viewer think and imagine what the piece of art is showing them. Malcolm Gladwell states in Blink: The adaptive unconscious is thought of as a kind of giant computer that quickly and quietly processes a lot of the data we need in order to keep functioning as human beings. When you walk out into the street and suddenly realize that a truck is bearing down on you, do you have time to think through all your options? Of course not. (Blink 11) When it comes to artwork, ones adaptive unconscious operates in a similar way. When one looks at an image he or she immediately sees their version of the image. Now, if one was shown a picture and then told—by someone else—what the picture was, and how the people in the picture were feeling, the person would not be able to relate to the picture and may dislike the image because they no longer see what they want to see. Instead, they now only observe what they were told to observe. Many emotions can be felt while viewing The Trapped Thief, which is attributed to Nicholas Van Galen. The work of art is an oil painting that was created sometime between 1620 and 1683... ... middle of paper ... ... Thief and Flemish Household, I was able to put the painting into a scene that fit what was going on around me. My mood reflected the way in which I saw the interactions within these two paintings. In general, art provides a method of escape for its audience; allowing its audience to go into their own world and showing them that there are others who are going through the same problems and circumstances as they are. Works Cited Adler, Sabine. Lover’s in Art. New York: Prestel Verlag, 2002 Gladwell, Malcolm. Blink: The Power of Thinking Without Thinking. New York: Little, Brown and Company, 2005 “Maerten Van Cleve I.” Grove Art Online. Oxford University Press, 28 September 2006, http://www.groveart.com/ Robotham, Kate. “Art Talks: Artistic Violence.” The Artistic Forum 1 January 1999. http://www.artisticforum.com/TheForum9-99.html
Gladwell shows how, using strategies and old tricks can change the way people think. He introduce his third desirable difficulty; when you know that you have nothing to lose, it gives you the freedom to use any type of strategy to achieve your goal. He uses the story of Martin Luther King and his fight against social inequality, to show how to use a few old tricks and the freedom that gives us having nothing to lose, help us in achieve our goals.
People can have many different opinions depending on a topic, but what is truly difficult is getting a complete level of understanding from every opinion, or understanding the point of view of each opinion. Even accepting the points of view can be difficult for some people, who believe that their opinions are right. Luckily, people can learn about the other person’s frame of reference, and at the very least understand the topic or the person a little better. This particular topic is art, which is known for its multiple possible perceptions or its many different messages that it can send a person or group of people. In this way, people can learn more about the thought processes and feelings of others. Unfortunately, with differing opinions,
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
Gladwell uses a wide variety of different examples that range from marriages to Law enforcement and everywhere in between. He seeks to revolutionize the way we attack problems
Art is a language of its own and with out he proper understanding, people are like expression goes “left on the outside looking in”. In other words, people without the proper understanding of art, technique and form as well as other elements can’t appreciate a work of art as much as when you understand why an artist painted in the way they did and what they are trying to get across to his audience. Despite artists attempts to try and make their works as viewer friendly as possible, without the understanding and knowledge gained from an art class as this one people will never fully understand the a work of art as it is meant to be.
many other emotions that the artist is trying to display in his painting. Although we can try and
The unconscious mind can be explained in various ways and can take on various attributes. Carl Jung the author of “The Archetype and the Collective Unconscious,” defines unconsciousness as the first reactions and interactions a person endeavors. Several Physicists believe that the unconscious mind acts separately from our voluntary thinking. Scientist believes that understanding the unconscious mind is key to determining what type of archetype a person may have or develop. Experiments such as, reaction to stimuli, have lead cognitive psychiatrist to determine the strength of the unaware and involuntary mind. In addition, many social physicists have also believed that the unconscious mind is unaware of it actions and that the unconscious part of our brain can sometimes be focused on several signs that our conscious self can’t see.
Gladwell, M. (2005). Blink: The Power of Thinking Without Thinking . In M. Gladwell, Blink: The Power of Thinking Without Thinking . New York, NY : Little, Brown and Company.
It is said that art is like a mirror to the soul, a way to see what
Clive Barker’s, The Thief of Always, is a story that takes the reader to lands far away and brings you back safely. The main character Harvey Swick couldn’t complete his duties, missing the help of the illustrations. The minor, major, and main characters all had their own unique and interesting pictures. Barker uses his unique illustrations to express emotions, foreshadow events, and build suspense for the following chapters. Throughout the story Barker places many original pictures, full of sentimental emotions that describe most of the following context.
Critical thinking is a very important aspect to understanding art. As David Perkins put it in “The Intelligent Eye”, we must avoid “experimental thinking”, a rash, quick way of thinking based on observations and use “reflective intelligence”, a way of thinking in which a viewer takes their time and dissects details and nuances to fully understand a work of art. A majority of viewers will look at a piece of art and come to a quick analysis of it, without much thought. But, according to Perkins, “The more attentive the observation is, the better the opportunity is for deeper learning” (Perkins 14). As Banksy said in Exit Through the Gift Shop, “the reaction to the work of art is the most important thing about it.” Without a reaction or an opinion, the work of art has no meaning. Therefore, in order to trul...
In times, we often see things, but we don't really capture what is beyond it. In some cases, there are people who are artistic and are prone to see what other's cannot visualize. Every individual has a talent which can be expressed and processed differently. Something you see can mean entirely divergent things to someone else;for example, some may see thing's that may seem simple, but in the eyes of an artist, it can be perceived with a whole new definition, dimension, and a potentially new discovery. As a photographer, my view of the world, can be skewed towards looking at everyday objects as potential art, but it wasn't always like that.
... time passes and the observer looks deeper into the piece, several feelings or emotions may arouse. Some feelings such as warmth, comfort, anger, hostility, calmness, sadness, and indifference can spring from just seeing certain colors in an image. The overall effect created by the artist could vary from person to person; however, it can be seen how a painting can psychologically affect people.
A couple of times throughout my life I heard that art will speak to you even though it doesn’t talk. Not having a real knowledgeable understanding of art or being a big appreciator of it, Berthold Woltze’s ‘The Irritating Gentleman’ (1874) is an oil painting that depicts realism that really draws me into everything in the painting because of the attention to detail he put into it. This particular work is the first time that anything in the art category has made me feel a special way about it and it truly does speak to me.
Their knowledge in the unconscious system is repressed and unavailable to consciousness without overcoming resistance (e.g., defense mechanisms). Thereby, the repression does not allow unconscious knowledge to be completely aware; rather, it is construed by means of concealing and compromise, but only interpretable through its derivatives dream and parapraxes that overcome resistance by means of disguise and compromise. Within the preconscious system, the contents could be accessible, although only a small portion at any given moment. Unconscious thought is characterized by primary process thinking that lacks negation or logical connections and favors the over-inclusions and 'just-as' relationships evident in condensed dream images and displacements. Freud asserted that primary process of thinking was phylogenetically, and continues to be ontogenetically, prior to secondary process or logical thought, acquired later in childhood and familiar to us in our waking life (1900, 1915a).