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Why Are Paintings Painted as They Are? The Place of Children’s Drawings in Vision and Art

Why Are Paintings Painted as They Are? The Place of Children’s Drawings in Vision and Art This work explores phenomenologically a new research perspective, whose purpose is to answer the question ‘why are paintings painted as they are?’. This perspective is based on the pictorial reproduction task aimed to reveal how subjects of different ages copy/paint what they perceived and how they organize the visual raw material. The results demonstrated the emergence of visual singularities organized in at least four stages going from 4 to 18 years of age reflecting different artistic styles and accomplishments appeared during the history of art. These outcomes entail that the answer to the previous basic question is: ‘we paint what and the way we paint because we perceive what and the way we perceive’ (painting–perception coupling). On the basis of these results, it is suggested that children’s drawings can significantly contribute to the comprehension and explanation of the painting–perception coupling. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Art & Perception Brill

Why Are Paintings Painted as They Are? The Place of Children’s Drawings in Vision and Art

Art & Perception , Volume 1 (1-2): 75 – Jan 1, 2013

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References (24)

Publisher
Brill
Copyright
© Koninklijke Brill NV, Leiden, The Netherlands
Subject
Articles
ISSN
2213-4905
eISSN
2213-4913
DOI
10.1163/22134913-00002008
Publisher site
See Article on Publisher Site

Abstract

This work explores phenomenologically a new research perspective, whose purpose is to answer the question ‘why are paintings painted as they are?’. This perspective is based on the pictorial reproduction task aimed to reveal how subjects of different ages copy/paint what they perceived and how they organize the visual raw material. The results demonstrated the emergence of visual singularities organized in at least four stages going from 4 to 18 years of age reflecting different artistic styles and accomplishments appeared during the history of art. These outcomes entail that the answer to the previous basic question is: ‘we paint what and the way we paint because we perceive what and the way we perceive’ (painting–perception coupling). On the basis of these results, it is suggested that children’s drawings can significantly contribute to the comprehension and explanation of the painting–perception coupling.

Journal

Art & PerceptionBrill

Published: Jan 1, 2013

Keywords: Figure–ground segregation; perceptual organization; art and perception; perceptual development; children drawing development

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