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.
Basis for emotional responses to 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.
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 relatively 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.
Meta-emotions
The optimal visual artwork creates what Noy & Noy-Sharav call "meta-emotions". These are multiple emotions that are triggered at the same time. They posit that what people see when immediately looking at a piece of artwork are the formal, technical qualities of the work and its complexity. Works that are well-made but lacking in appropriate complexity, or works that are intricate but missing in technical skill will not produce "meta-emotions". For example, seeing a perfectly painted chair (technical quality but no complexity) or a sloppily drawn image of Christ on the cross (complex but no skill) would be unlikely to stimulate deep emotional responses. However, beautifully painted works of Christ's crucifixion are likely make people who can relate or who understand the story behind it weep.
Noy & Noy-Sharav also claim that art is the most potent form of emotional communication. They cite examples of people being able to listen to and dance to music for hours without getting tired and literature being able to take people to far away, imagined lands inside their heads. Instead of being passive recipients of actions and images, art is intended for people to challenge themselves and work through the emotions they see presented in the artistic message.
Often, people have a difficulty recognizing and explicitly expressing the emotions they are feeling. Art tends to have a way to reach people’s emotions on a deeper level and when creating art, it is a way for them to release the emotions they cannot otherwise express. There is a professional denomination within psychotherapy called art therapy or creative arts therapy in which deals with diverse ways of coping with emotions and other cognitive dimensions.
Types of elicited emotions
There is debate among researchers as to what types of emotions works of art can elicit; whether these are defined emotions such as anger, confusion or happiness, or a general feeling of aesthetic appreciation. The aesthetic experience seems to be determined by liking or disliking a work of art, placed along a continuum of pleasure–displeasure. However, other diverse emotions can still be felt in response to art, which can be sorted into three categories: Knowledge Emotions, Hostile Emotions, and Self-Conscious Emotions.