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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 ...
The work of Theodor Lipps, a Munich-based research psychologist, played an important role in the early development of the concept of art psychology in the early decade of the twentieth century. [citation needed] His most important contribution in this respect was his attempt to theorize the question of Einfuehlung or "empathy", a term that was ...
The theory of constructed emotion (formerly the conceptual act model of emotion [1]) is a theory in affective science proposed by Lisa Feldman Barrett to explain the experience and perception of emotion. [2] [3] The theory posits that instances of emotion are constructed predictively by the brain in the moment as needed. It draws from social ...
Emotions are categorized into various affects, which correspond to the current situation. [30] An affect is the range of feeling experienced. [31] Both positive and negative emotions are needed in our daily lives. [32] Many theories of emotion have been proposed, [33] with contrasting views. [34]
The capacity of artworks to arouse emotions such as fear is a subject of philosophical and psychological research. [1] It raises problems such as the paradox of fiction in which one responds with sometimes quite intense emotions to art, even whilst knowing that the scenario presented is fictional (see for instance the work of Kendall Walton).
Bright pop art and moody landscapes elicit different feelings—here's how the art we choose for our living space can affect our emotions.
The website Psychology.org defines art therapy as: "a tool therapists use to help patients interpret, express, and resolve their emotions and thoughts. Patients work with an art therapist to explore their emotions, understand conflicts or feelings that are causing them distress, and use art to help them find resolutions to those issues." [24]
For example, Bertolt Brecht viewed catharsis as a pap (pabulum) for the bourgeois theatre audience, and designed dramas which left significant emotions unresolved, intending to force social action upon the audience. Brecht then identified the concept of catharsis with the notion of identification of the spectator, meaning a complete adhesion of ...