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An interdisciplinary field that studies the perception, cognition and characteristics of art and its production. For the use of art materials as a form of psychotherapy, see art therapy.
A person with an ‘’autotelic personality’’ tends to do things for their own sake rather than chasing some distant external goal. This type of personality is distinguished by certain meta-skills such as high interest in life, persistence, as well as low selfcenteredness.
His studies led him to conclude that happiness is an internal state of being, not an external one. His popular book, Flow: The Psychology of Optimal Experience (Amazon) is based on the premise that happiness levels can be shifted through the introduction of more flow.
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The origin of music is shrouded in prehistory. There is little physical evidence—like stone carvings or fossilized footprints— that might provide clues to music’s past. Necessarily, hypotheses concerning the original functions of music.
Art and creativity are one of the first fundamental skills that we as human beings have perfected within our time here on this earth. The objective of this research was to determine the connection of art to an individual’s mental health.
An interdisciplinary field that studies the perception, cognition and characteristics of art and its production. For the use of art materials as a form of psychotherapy, see art therapy.
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neurological experience
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RT is an interdisciplinary field that studies the perception, cognition and characteristics of art and its production. For the use of art materials as a form of psychotherapy, see art therapy. The psychology of art is related to architectural psychology and environmental psychology.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 to become a key element in many subsequent theories of art psychology. The of the earliest to integrate psychology with art history was Heinrich Wölfflin (1864–1945), a Swiss art critic and historian, whose dissertation Prolegomena 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 on the perspecitve of psychology. Another important figure in the development 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-Freienfels was another important early theorist.Numerous artists in the twentieth century began to be influenced by the psychological argument, including Naum Gabo, Paul Klee, Wassily Kandinsky, and somewhat Josef Albers and György Kepes. The French adventurer 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 Silence. 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, England (Clive Bell and Herbert Read), France (André Malraux, Jean-Paul Weber, for
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example), and the US. In the US, the philosophical premises of art psychology were strengthened—and given political valence—in the work of John Dewey. His Art as Experience was published in 1934, and was the basis for significant revisions in teaching practices whether in the kindergarten 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 influenced by the writings of Dewey, explains, for example. The Foundations of Art Education (1955), that the aesthetic education of children 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 experience. The growth of art psychology between 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: Excitement and Growth in the Human Personality (1951), that was co-authored by Fritz Perls, Paul Goodman, and Ralph Hefferline Wassily Kandinsky, and somewhat Josef Albers. The writings of Rudolf Arnheim (born 1904) were also particularly influential 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 implement 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 placement and design of commercial goods.
ART AND CREATIVITY are the first fundamental life skills that we as human beings have perfected within our time here on this earth. The objective of this research was to determine the connection of art to an individual’s mental health. During research, it was found that art therapy has been a common element used during the treatment of mental health patients, and has had positive effects on the overall well being of an individual. Art provides a safe outlet for those suffering to express their innermost struggles, and what has been deduced from various artists is that creating has positively affected their quality of life, as well as giving artists an overall satisfaction with his/her inner selves. Methods of which investigations were conducted include researching artist biographies, setting up multiple interviews with artistic persons, and supporting these results with data based on psychological connection of art therapy and its purp.
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CATHARSIS 2018 ALEXANDRIA DOMINICK MIXED MEDIA ON BIRCH PANEL
PHOTOGRAPH OF BRIAN HERRERA AUGUST AXCELSON 2018
The relationship of mental health and stability of creative persons has been questioned for centuries. The audience of a painting may question the sanity of the artist or his/her intentions, such as “What were they thinking when they made this?” Art can be used as a form of creative expression of his/ her innermost thoughts, and can be used in a therapeutic sense to its creator. This concept has been explored through a division in psychological therapy, which will be explored in the following literature review. This study seeks to explore the connection of artistic ability and mental health from the artist’s perspective. From cave paintings, to the masterpieces of the greats, art has been a form of
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expression and communication since man learned how to pick up a utensil. Art itself is defined as the application or expression of human creative skills and imagination in visual form; producing works to be appreciated for beauty, emotional power, and as a form of communication. In 1941, Anne Anastasi and John P. Foley Jr. studied 602 children’s drawings from 41 countries to interpret what the children drew, why they drew it, and if there were any relation of the art to their mental health or age. The study was riddled with frequently inconsistent facts, since the children’s mental age was not disclosed, and there
There are were no conditions under which the children were drawing the images; there is not one justified conclusion where the drawings show any of the children’s developmental stages of mental growth (Spoerl, 1941). However, this was a spark of evolution within psychology: to consider art as therapeutic. Within history, mental illness in humanity has been seen through so called ‘dirty glasses’. It was labeled as an embodiment of divine, or demonic influence which caused fear in the world’s medical/psychological fields of study. Throughout the 20th Century, writers began
to examine how a creative product, such as art, could be understood as an interpretation of one’s mental health or mental turmoil. Psychological research was conducted to determine whether this theory could be true. Psychoanalysis of mentally ill patients was common in this research, whether they were discussing a general studio artist’s work, or the work of a mentally ill patient, they both take part in the same psychic process, as said by Vick, “the placing of an inner experience, an outer experience, into the outside world”. These studies were conducted with these patients to entice them to project their innermost conflicts outward and turn them into a foundation of their treatment. These tests were used, and to some degree still are today, to evaluate and diagnose mentally ill persons and put them on the road to recovery. Soon after this evolutionary
research, it was recognized that art had the potential to be used as a treatment method within psychotherapy, alongside discussion in client sessions. whether they were discussing a general studio artist’s work, or the work of a mentally ill patientThus, the term and practice of ‘art therapy’ was coined in 1942 by the artist Adrian Hill (Hogan, 2001), and was continually developed through the 1950s-1990s.
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A second artist, Frida Kahlo used art as a way to recover after she was involved in a traumatic bus accident with her friend Alejandro. A metal rod had pierced Kahlo’s body, and her wounds were severe. Her spinal column was broken in three places, she had a broken collarbone, broken four ribs, and fractured both legs. It took many operations to try to put her body back together, to say the least. As horrible as this all was, Kahlo started to paint as a form of relief (see painting “A Broken Column” to right). Kahlos’s mother rigged up the necessary tools to her four poster bed to allow her to paint while lying down. It was during her recovery from the accident that Kahlo diligently began to put onto a canvas her personal.
An artist known as Jackson Pollock suffered from clinical depression. He was a tortured soul who “was extremely nonverbal” and had “great trouble in finding a common language” (Solomon, 2001). His painting of the abstract and his emotions are linked to his struggles in communicating, and also prove the point that he is right brained. His artwork spilled his personal pain onto the canvas, quite literally, as he splattered and thrust paint towards a creative surface (See painting “Autumn Rhythm” above). His work helped him in communicating his inward suffering for all the world to see.
The patient may be struggling and cannot explain how he/she is feeling exactly, or may be unwilling to do so as he/she cannot ‘break the wall’. Therefore, the object for the individual is to turn that feeling into a visual representation to relieve one of his/her afflictions, and to address them in a healthy manner
The artist’s mind is directly correlated to the right side of the brain, as described previously, it handles creativity and imagination, as well as emotions. A right minded individual in nonverbal and intuitive, versus the left side that is verbal and analytical. The right side would rather use pictures than words to express an idea. For example, if a right brained person is giving directions, he/she will give you the directions of turning left or right with hand gestures, and will name many interesting reference points like “you will pass a McDonalds and a Walmart” and will also reference visuals like gas stations and traffic lights, versus stating the amount of blocks and street names (UCMAS 2007-2017). With this idea in mind, the attention is now turned to the mentally ill patient using art as a way to communicate what he/she is experiencing emotionally, or physically harmed in this manner of fine and wealrh phycolory ane arr..
The human mind is an enigma. The brain functions to aid in cognitive and bodily productivity, but it also provides the keys to develop who an individual will be and what skills he/she will have. A concept was developed in the 1960s by American psychobiologist Roger W. Sperry that the brain has two sides: the left brain, and the right brain. The left brain handles logic, analysis, math, language, facts, and organization; and the right brain handles creativity, imagination, intuition, motor skill, feelings, and visualization. If this sounds familiar, one may see a test that comes up on facebook or other social platforms that ask a series of questions and at the end will tell the individual what percentage of each side of the brain he/she uses. Now that may sound like fun, but it holds a very strategic value in relation to interests, skills, and their function in the everyday life of a human being in the modern art era we are in now.
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