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Modes of address in pictorial art: an eye movement study of Manet’s Bar at the Folies-Bergère

Harland, Beth, Gillett, John, Mann, Carl M., Kass, Jason, Godwin, Hayward J., Liversedge, Simon P. and Donnelly, Nick (2014) Modes of address in pictorial art: an eye movement study of Manet’s Bar at the Folies-Bergère Leonardo, 47, (3), pp. 241-247. (doi:10.1162/LEON_a_00676).

Record type: Article


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.

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Submitted date: 9 August 2012
e-pub ahead of print date: 19 May 2014
Published date: June 2014
Additional Information: 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.
Organisations: Faculty of Business, Law and Art


Local EPrints ID: 344707
ISSN: 0024-094X
PURE UUID: 652b755c-f1f2-4d76-a45e-ab9c6555369f

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Date deposited: 30 Oct 2012 14:05
Last modified: 18 Jul 2017 05:14

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Author: Beth Harland
Author: John Gillett
Author: Carl M. Mann
Author: Jason Kass
Author: Nick Donnelly

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