Art and emotion

In psychology of art, the relationship between art and emotion has newly been the subject of extensive study thanks to the intervention of esteemed art historian Alexander Nemerov. Emotional or aesthetic responses to art have previously been viewed as basic stimulus response, but new theories and research have suggested that these experiences are more complex and able to be studied experimentally. Emotional responses are often regarded as the keystone to experiencing art, and the creation of an emotional experience has been argued as the purpose of artistic expression. Research has shown that the neurological underpinnings of perceiving art differ from those used in standard object recognition. Instead, brain regions involved in the experience of emotion and goal setting show activation when viewing art.

Evolutionary ancestry has hard-wired humans to have affective responses for certain patterns and traits. These predispositions lend themselves to responses when looking at certain visual arts as well. Identification of subject matter is the first step in understanding the visual image. Being presented with visual stimuli creates initial confusion. Being able to comprehend a figure and background creates closure and triggers the pleasure centers of the brain by remedying the confusion. Once an image is identified, meaning can be created by accessing memory relative to the visual stimuli and associating personal memories with what is being viewed.

Other methods of stimulating initial interest that can lead to emotion involves pattern recognition. Symmetry is often found in works of art, and the human brain unconsciously searches for symmetry for a number of reasons. Potential predators were bilaterally symmetrical, as were potential prey. Bilateral symmetry also exists in humans, and a healthy human is typically symmetrical. This attraction to symmetry was therefore advantageous, as it helped humans recognize danger, food, and mates. Art containing symmetry therefore is typically approached and positively valenced to humans.

Another example is to observe paintings or photographs of bright, open landscapes that often evoke a feeling of beauty, relaxation, or happiness. This connection to pleasant emotions exists because it was advantageous to humans before today's society to be able to see far into the distance in a brightly lit vista. Similarly, visual images that are dark and/or obscure typically elicit emotions of anxiety and fear. This is because an impeded visual field is disadvantageous for a human to be able to defend itself.

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