Rights statement: ©American Psychological Association, 2017. This paper is not the copy of record and may not exactly replicate the authoritative document published in the APA journal. Please do not copy or cite without author's permission. The final article is available, upon publication, at: 10.1037/aca0000096
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Research output: Contribution to Journal/Magazine › Journal article › peer-review
Research output: Contribution to Journal/Magazine › Journal article › peer-review
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TY - JOUR
T1 - The influence of pupil alignment on spectator address in Manet's portraiture
AU - Donnelly, Nick
AU - Harland, Elizabeth Jane
AU - Thompson, Natalie
AU - Liversedge, Simon Paul
N1 - ©American Psychological Association, 2017. This paper is not the copy of record and may not exactly replicate the authoritative document published in the APA journal. Please do not copy or cite without author's permission. The final article is available, upon publication, at: 10.1037/aca0000096
PY - 2017/5/1
Y1 - 2017/5/1
N2 - Participants judged 94 portraits painted by Édouard Manet (70), Gustave Courbet (12) and Henri Fantin-Latour (12) for horizontal and vertical pupil misalignment and gaze ambiguity (Experiment 1) and focal point of gaze (Experiment 2). Eye movements were also measured as participants considered the extent to which sitters in the same portraits acknowledged viewers (spectators; Experiment 3). The results showed Manet portraits to be frequently painted with misaligned pupils that are associated with gaze ambiguity, especially when misaligned on the vertical axis. This ambiguity of gaze was associated with the average focal point of gaze as being judged further up and to the left of the centre for ambiguous relative to non-ambiguous portraits. These decisions in relation to portraits displaying ambiguous gaze were associated with increased eye-movements to the eye region relative to those portraits not displaying ambiguity. Finally, ratings of acknowledgement taken in Experiment 3 correlated with those of gaze ambiguity taken in Experiment 1. The results are interpreted in terms of the role of eye gaze in influencing spectatorship of portraits and, specifically, Fried’s theory of the ‘double relation’ (Fried 1980; Fried 1996) between painting and spectator in the paintings of Manet.
AB - Participants judged 94 portraits painted by Édouard Manet (70), Gustave Courbet (12) and Henri Fantin-Latour (12) for horizontal and vertical pupil misalignment and gaze ambiguity (Experiment 1) and focal point of gaze (Experiment 2). Eye movements were also measured as participants considered the extent to which sitters in the same portraits acknowledged viewers (spectators; Experiment 3). The results showed Manet portraits to be frequently painted with misaligned pupils that are associated with gaze ambiguity, especially when misaligned on the vertical axis. This ambiguity of gaze was associated with the average focal point of gaze as being judged further up and to the left of the centre for ambiguous relative to non-ambiguous portraits. These decisions in relation to portraits displaying ambiguous gaze were associated with increased eye-movements to the eye region relative to those portraits not displaying ambiguity. Finally, ratings of acknowledgement taken in Experiment 3 correlated with those of gaze ambiguity taken in Experiment 1. The results are interpreted in terms of the role of eye gaze in influencing spectatorship of portraits and, specifically, Fried’s theory of the ‘double relation’ (Fried 1980; Fried 1996) between painting and spectator in the paintings of Manet.
KW - MANET
KW - Portrait
KW - Gaze
KW - Pupil allignment
U2 - 10.1037/aca0000096
DO - 10.1037/aca0000096
M3 - Journal article
VL - 11
SP - 167
EP - 178
JO - Psychology of Aesthetics, Creativity, and the Arts
JF - Psychology of Aesthetics, Creativity, and the Arts
SN - 1931-3896
IS - 2
ER -