Modes of Address in Pictorial Art: An eye movement case study of Edouard Manet’s painting A Bar at the Folies-Bergère to investigate art theories of absorption and viewer acknowledgment.


Harland, E.J., Liversedge, Simon P., Gillett, J.R., Mann, C.M, Kass, J., Godwin, H.J. and Donnelly, Nick (2012) Modes of Address in Pictorial Art: An eye movement case study of Edouard Manet’s painting A Bar at the Folies-Bergère to investigate art theories of absorption and viewer acknowledgment. Leonardo (In Press).

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Description/Abstract

This paper presents findings of collaborative cross-disciplinary research involving Winchester School of Art, the Centre for Visual Cognition Department of Psychology and the Courtauld Gallery, London.
Art historical accounts of the last two hundred years identify developments in the types, or ‘modes’, of address that a picture can present to a viewer, as critical to the experience and evaluation of paintings. Here we focus on ‘anti-theatrical’ theories of pictorial address, and the complex and innovative ‘double relation’ of absorption and acknowledgment introduced by the painter Edouard Manet. We report a case study of Manet’s A Bar at the Folies-Bergère investigating expert and novice spectators’ eye movements and utterances in response to the painting to find evidence that viewers seek resolution of the complex ‘double relation’ that the theories describe.

Item Type: Article
ISSNs: 0024-094X (print)
1530-9282 (electronic)
Related URLs:
Subjects: N Fine Arts > NX Arts in general
Divisions: Faculty of Business and Law
ePrint ID: 344707
Date Deposited: 30 Oct 2012 14:05
Last Modified: 27 Mar 2014 20:26
URI: http://eprints.soton.ac.uk/id/eprint/344707

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