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The psychology of art is the scitific study of cognitive and emotional processes precipitated by the ssory perception of aesthetic artefacts, such as viewing a painting or touching a sculpture. It is an emerging multidisciplinary field of inquiry, closely related to the psychology of aesthetics, including neuroaesthetics.

The psychology of art compasses experimtal methods for the qualitative examination of psychological responses to art, as well as an empirical study of their neurobiological correlates through neuroimaging.

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One of the earliest to integrate psychology with art history was Heinrich Wölfflin (1864–1945), a Swiss art critic and historian, whose dissertation Prolegoma zu einer Psychologie der Architektur (1886) attempted to show that architecture could be understood from a purely psychological (as opposed to a historical-progressivist) point of view.

Another important figure in the developmt of art psychology was Wilhelm Worringer, who provided some of the earliest theoretical justification for expressionist art. The Psychology of Art (1925) by Lev Vygotsky (1896–1934) is another classical work. Richard Müller-Freifels was another important early theorist.

The work of Theodor Lipps, a Munich-based research psychologist, played an important role in the early developmt of the concept of art psychology in the early decade of the twtieth ctury.

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His most important contribution in this respect was his attempt to theorize the question of Einfuehlung or "empathy", a term that was to become a key elemt in many subsequt theories of art psychology.

Numerous artists in the twtieth ctury began to be influced by the psychological argumt, including Naum Gabo, Paul Klee, Wassily Kandinsky, and somewhat Josef Albers and György Kepes. The Frch advturer and film theorist André Malraux was also interested in the topic and wrote the book La Psychologie de l'Art (1947-9) later revised and republished as The Voices of Silce.

Though the disciplinary foundations of art psychology were first developed in Germany, there were soon advocates, in psychology, the arts or in philosophy, pursuing their own variants in the USSR, gland (Clive Bell and Herbert Read), France (André Malraux, Jean-Paul Weber, for example), and the US.

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His Art as Experice was published in 1934, and was the basis for significant revisions in teaching practices whether in the kindergart or in the university. Manuel Barkan, head of the Arts Education School of Fine and Applied Arts at Ohio State University, and one of the many pedagogues influced by the writings of Dewey, explains, for example, in his book The Foundations of Art Education (1955), that the aesthetic education of childr prepares the child for a life in a complex democracy. Dewey himself played a seminal role in setting up the program of the Barnes Foundation in Philadelphia, which became famous for its attempt to integrate art into the classroom experice.

The growth of art psychology betwe 1950 and 1970 also coincided with the expansion of art history and museum programs. The popularity of Gestalt psychology in the 1950s added further weight to the discipline. The seminal work was Gestalt Therapy: Excitemt and Growth in the Human Personality (1951), that was co-authored by Fritz Perls, Paul Goodman, and Ralph Hefferline. The writings of Rudolf Arnheim (born 1904) were also particularly influtial during this period. His Toward a Psychology of Art (Berkeley: University of California Press) was published in 1966. Art therapy drew on many of the lessons of art psychology and tried to implemt them in the context of ego repair.

Marketing also began to draw on the lessons of art psychology in the layout of stores as well as in the placemt and design of commercial goods.

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Art psychology, gerally speaking, was at odds with the principles of Freudian psychoanalysis with many art psychologists critiquing what they interpreted as its reductivism. Sigmund Freud believed that the creative process is an alternative to neuroses. He felt that it was likely a sort of defce mechanism against the negative effects of neuroses, a way to translate that ergy into something socially acceptable, which could tertain and please others.

The writings of Carl Jung, however, had a favorable reception among art psychologists giv his optimistic portrayal of the role of art and his belief that the contts of the personal unconscious and, more particularly, the collective unconscious, could be accessed by art and other forms of cultural expression.

And architects in phomology and the writings of Wittgstein, Lyotard and Derrida. As for art and architectural historians, they critiqued psychology for being anti-contextual and culturally naive. Erwin Panofsky, who had a tremdous

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Impact on the shape of art history in the US, argued that historians should focus less on what is se and more on what was thought.

Because of the growing interest in personality theory—especially in connection with the work of Isabel Briggs Myers and Katherine Briggs (developers of the Myers-Briggs Type Indicator)—contemporary theorists are investigating the relationship betwe personality type and art. Patricia Dinkelaker and John Fudjack have addressed the relationship betwe artists' personality types and works of art; approaches to art as a reflection of functional preferces associated with personality type; and the function of art in society in light of personality theory.

Art is considered to be a subjective field, in which one composes and views artwork in unique ways that reflect one's experice, knowledge, preferce, and emotions. The aesthetic experice compasses the relationship betwe the viewer and the art object. In terms of the artist, there is an emotional attachmt that drives the focus of the art. An artist must be completely in-tune with the art object in order to rich its creation.

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As the piece of art progresses during the creative process, so does the artist. Both grow and change to acquire new meaning. If the artist is too emotionally attached or lacking emotional compatibility with a work of art, th this will negatively impact the finished product.

According to Bosanquet (1892), the "aesthetic attitude" is important in viewing art because it allows one to consider an object with ready interest to see what it suggests. However, art does not evoke an aesthetic experice unless the viewer is willing and op to it. No matter how compelling the object is, it is up to the beholder to allow the existce of such an experice.

In the eyes of Gestalt psychologist Rudolf Arnheim, the aesthetic experice of art stresses the relationship betwe the whole object and its individual parts. He is widely known for focusing on the experices and interpretations of artwork, and how they provide insight into peoples' lives. He was less concerned with the cultural and social contexts of the experice of creating and viewing artwork. In his eyes, an object as a whole is considered with less scrutiny and criticism than the consideration of the specific aspects of its tity. Artwork reflects one's "lived experice" of his/her life. Arnheim believed that all psychological processes have cognitive, emotional, and motivational qualities, which are reflected in the compositions of every artist.

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Similar to how these terms are used in software design, "bottom-up" refers to how information in the stimulus is processed by the visual system into colors, shapes, patterns, etc.

Bottom-up factors idtified in how art is appreciated include abstract vs figurative painting, form, complexity, symmetry and compositional balance, laterality and movemt.

Researchers have examined the role of terror managemt theory (TMT) concerning meaning and the aesthetic experice of abstract versus figurative art. This theory suggests that humans, like all life forms are biologically orited toward continued survival but are uniquely aware that their lives will inevitably d. TMT reveals that modern art is oft disliked because it lacks appreciable meaning, and is thus incompatible with the underlying terror managemt motive to maintain a meaningful conception of reality.

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Mortality salice, or the knowledge of approaching death, was manipulated in a study aimed at examining how aesthetic preferces for seemingly meaningful and meaningless art are influced by intimations of mortality. The mortality salice condition consisted of two oped ded questions about emotions and physical details concerning the participant's own death.

Participants were th instructed to view two abstract paintings and rate how attractive they find them. A test comparing the mortality salice condition and the control found that participants in the mortality salice condition found the art less attractive.

The meaning maintance model of sociology states that wh a committed meaning framework is threated, people experice an arousal state that prompts them to affirm any other meaning framework to which they are committed.

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Participants were randomly assigned to a betwe-subjects viewing of artwork (abstract vs. represtational vs. absurd artwork), followed by allocation of the Personal Need for Structure scale. Personal Need for Structure scale is used to detect temporary increases in people's need for meaning.

Theoretically, one should experice more need for structure wh viewing abstract art than figurative art since unrelated meaning threats (abstract art) evoke a temporarily heighted geral need for meaning.

However, results showed that overall scores for represtational art, and abstract art did not differ significantly from one another. Participants reported higher scores on