Umbra RM8, 2013 by Laura Crehuet Berman.

Art is integrated into the Mayo Clinic environment. Since the original Mayo Clinic Building was finished in 1914, many pieces have been donated or commissioned for patients and staff to enjoy. Each issue of Mayo Clinic Proceedings features a work of art (as interpreted by the author) that is displayed in a building or on the grounds of Mayo Clinic campuses.

Relationship between reflectance and degree of polarization in the VNIR-SWIR: A case study on art paintings with polarimetric reflectance imaging spectroscopy.

We study the relationship between reflectance and the degree of linear polarization of radiation that bounces off the surface of an unvarnished oil painting. We design a VNIR-SWIR (400 nm to 2500 nm) polarimetric reflectance imaging spectroscopy setup that deploys unpolarized light and allows us to estimate the Stokes vector at the pixel level. We observe a strong negative correlation between the S0 component of the Stokes vector (which can be used to represent the reflectance) and the degree of linear polarization in the visible interval (average -0.81), while the correlation is weaker and varying in the infrared range (average -0.50 in the NIR range between 780 and 1500 nm, and average -0.87 in the SWIR range between 1500 and 2500 nm). By tackling the problem with multi-resolution image analysis, we observe a dependence of the correlation on the local complexity of the surface. Indeed, we observe a general trend that strengthens the negative correlation for the effect of artificial flattening provoked by low image resolutions.

The color of fruits in photographs and still life paintings.

Still life paintings comprise a wealth of data on visual perception. Prior work has shown that the color statistics of objects show a marked bias for warm colors. Here, we ask about the relative chromatic contrast of these object-associated colors compared with background colors in still life paintings. We reasoned that, owing to the memory color effect, where the color of familiar objects is perceived more saturated, warm colors will be relatively more saturated than cool colors in still life paintings as compared with photographs. We analyzed color in 108 slides of still life paintings of fruit from the teaching slide collection of the Fogg University Art Museum and 41 color-calibrated photographs of fruit from the McGill data set. The results show that the relatively higher chromatic contrast of warm colors was greater for paintings compared with photographs, consistent with the hypothesis.

Users' continuance intention towards an AI painting application: An extended expectation confirmation model.

With the rapid advancement of technology, Artificial Intelligence (AI) painting has emerged as a leading intelligence service. This study aims to empirically investigate users' continuance intention toward AI painting applications by utilizing and expanding the Expectation Confirmation Model (ECM), Technology Acceptance Model (TAM), Unified Theory of Acceptance and Use of Technology (UTAUT), and the Flow Theory. A comprehensive research model is proposed. A total of 443 questionnaires were distributed to users with AI painting experiences for data collection. The hypotheses were tested through structural equation modeling. The primary conclusions drawn from this research include: 1) Confirmation plays a crucial role, significantly and positively predicting satisfaction and social impact. 2) Personal innovativeness has a significant effect on confirmation. 3) Satisfaction, flow experience, and social influence directly and positively predict intention, with social influence showing the most significant impact, while perceived usefulness, perceived enjoyment, and performance expectancy show no significant impact on intention. 4) Habit plays a negative moderating role in the association between social influence and continued intention to use. These findings offer valuable insights and inspiration for users seeking to understand the appropriate utilization of AI painting and provide actionable directions for the development of AI painting.

The psychology of Mona Lisa's smile.

Mona Lisa's ambiguous expression, oscillating between melancholy and contentment, has captivated viewers for centuries, prompting diverse explanations. This article proposes a novel interpretation grounded in the psychological theory of perceptual organisation. Central to the investigation is the "Ambiguity-Nuance", a subtly shaded, blended region framing the upper part of the lips, hypothesised to influence perceived expression due to perceptual organization. Through carefully crafted artwork and systematic manipulations of Mona Lisa reproductions, experiments reveal how alterations in the perceptual relationships of the Ambiguity-Nuance yield significant shifts in perceived expression, explaining why Mona Lisa's appearance changes and under which conditions she looks content versus melancholic based on perceptual organization. These findings underscore the pivotal role of psychological principles in shaping ambiguous expressions in the Mona Lisa, and extend to other Leonardo's portraits, namely La Bella Principessa and Scapigliata. This study sheds light on the intersection of psychology and art, offering new perspectives on timeless masterpieces.

The art of resilience: a psychobiography of Frida Kahlo.

This psychobiography of Frida Kahlo explores the psychology of the famous Mexican artist. Drawing upon Kahlo's paintings and diary entries, a rich psychological analysis of the feminist icon is juxtaposed with the zeitgeist of 20th century Mexico. Framed through the theoretical model of feminist psychology, Kahlo's role in promoting gender equality and dismantling patriarchal society is discussed. Physical pain resulting from illness and impalement by a metal pole in a trolley accident was matched, if not exceeded, by the psychological pain the artist felt due to resulting issues with fertility and the long-sought but never-realized role of motherhood, infidelity within her marriage, and the eventual loss of her ability to paint. Nevertheless, Kahlo's perseverance and strength led to worldwide recognition of her bold and vibrant paintings, vulnerably depicting her rich inner world. The present study utilises perspectives from art therapy and attachment theory to elucidate the factors contributing to Frida Kahlo's resilience in the face of lifelong trauma and chronic pain. Ultimately, Kahlo's life and work offer valuable insight into the psychological experiences of women in patriarchal societies, emphasising the importance of feminist perspectives in psychological research and highlighting the healing and resilience-promoting role of art.

Art perception is affected by negative knowledge about famous and unknown artists.

The biographies of some celebrated artists are marked by accounts that paint a far from beautiful portrait. Does this negative-social knowledge influence the aesthetic experience of an artwork? Does an artist's fame protect their paintings from such an influence? We present two preregistered experiments examining the effect of social-emotional biographical knowledge about famous and unknown artists on the reception and perception of their paintings, using aesthetic ratings and neurocognitive measures. In Experiment 1, paintings attributed to artists characterised by negative biographical information were liked less, evoked greater feelings of arousal and were judged lower in terms of quality, than paintings by artists associated with neutral information. No modulation of artist renown was found. Experiment 2 fully replicated these behavioural results and revealed that paintings by artists associated with negative social-emotional knowledge also elicited enhanced early brain activity related to visual perception (P1) and early emotional arousal (early posterior negativity; EPN). Together, the findings suggest that negative knowledge about famous artists can shape not only explicit aesthetic evaluations, but may also penetrate the perception of the artwork itself.

Vagueness and volume: Testing the perception of depth in images with linear, sharp, or blurred contours.

In European painting, a transition took place where artists started to consciously introduce blurred or soft contours in their works. There may have been several reasons for this. One suggestion in art historical literature is that this may have been done to create a stronger sense of volume in the depicted figures or objects. Here we describe four experiments in which we tried to test whether soft or blurred contours do indeed enhance a sense volume or depth. In the first three experiments, we found that, for both paintings and abstract shapes, three dimensionality was actually decreased instead of increased for blurred (and line) contours, in comparison with sharp contours. In the last experiment, we controlled for the position of the blur (on the lit or dark side) and found that blur on the lit side evoked a stronger impression of three dimensionality. Overall, the experiments robustly show that an art historical conjecture that a blurred contour increases three dimensionality is not granted. Because the blurred contours can be found in many established art works such as from Leonardo and Vermeer, there must be other rationales behind this use than the creation of a stronger sense of volume or depth.

Why did Rubens add a parrot to Titian's The Fall of Man? A pictorial manipulation of joint attention.

Almost 400 years ago, Rubens copied Titian's The Fall of Man, albeit with important changes. Rubens altered Titian's original composition in numerous ways, including by changing the gaze directions of the depicted characters and adding a striking red parrot to the painting. Here, we quantify the impact of Rubens's choices on the viewer's gaze behavior. We displayed digital copies of Rubens's and Titian's artworks-as well as a version of Rubens's painting with the parrot digitally removed-on a computer screen while recording the eye movements produced by observers during free visual exploration of each image. To assess the effects of Rubens's changes to Titian's composition, we directly compared multiple gaze parameters across the different images. We found that participants gazed at Eve's face more frequently in Rubens's painting than in Titian's. In addition, gaze positions were more tightly focused for the former than for the latter, consistent with different allocations of viewer interest. We also investigated how gaze fixation on Eve's face affected the perceptual visibility of the parrot in Rubens's composition and how the parrot's presence versus its absence impacted gaze dynamics. Taken together, our results demonstrate that Rubens's critical deviations from Titian's painting have powerful effects on viewers' oculomotor behavior.

[Csontvary, a Hungarian Painter, Art, Psychiatry. The Analysis according to Rennert].

Tivadar Csontváry Kosztka, the great Hungarian artist was called a sort of a "crazy painter" by his contemporaries. Retrospectively, he was diagnosed as suffering not from psychosis but a schizotypal personality disorder based on seven out of nine diagnostic criteria. However, we still need a more precise definition of these criteria. It was also said that his paintings are like those made by the mentally ill. But following the principles and methods of the psychopathological art, especially that of Rennert, we find definitely more dissimilitudes than resemblances. In order to obtain a more accurate profile of this extraordinary creator, we still need further research focusing on the facts.

Medical findings and congenital anomalies in Vermeer's paintings.

The 17th century was a time of scientific discovery in Europe. Leading academic centers provided the general population with an opportunity to view anatomic dissections of human bodies. Rather than portray idealized versions of individuals, Dutch painters were committed to accurately representing their models. This was true for Johannes Vermeer. The 2023 exhibition of Vermeer's paintings at the Rijksmuseum in Amsterdam provided an unprecedented opportunity to observe 28 of his 37 existing paintings simultaneously in person. Here the authors suggest that in at least eight paintings a visibly pregnant woman is present. Vermeer's wife was pregnant or lactating most of the time during their 22-year marriage. Further, evidence of specific medical findings and congenital anomalies such as polydactyly, ectrodactyly, alopecia, kyphosis, and hyperthyroidism were observed in the paintings. These have not been previously reported in the medical or art history literature.