Potencial contribución del arte al desarrollo de habilidades de observación / Potential contribution of art to the development of observation skills

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Reappraising abstract paintings after exposure to background information.

Can knowledge help viewers when they appreciate an artwork? Experts' judgments of the aesthetic value of a painting often differ from the estimates of naïve viewers, and this phenomenon is especially pronounced in the aesthetic judgment of abstract paintings. We compared the changes in aesthetic judgments of naïve viewers while they were progressively exposed to five pieces of background information. The participants were asked to report their aesthetic judgments of a given painting after each piece of information was presented. We found that commentaries by the artist and a critic significantly increased the subjective aesthetic ratings. Does knowledge enable experts to attend to the visual features in a painting and to link it to the evaluative conventions, thus potentially causing different aesthetic judgments? To investigate whether a specific pattern of attention is essential for the knowledge-based appreciation, we tracked the eye movements of subjects while viewing a painting with a commentary by the artist and with a commentary by a critic. We observed that critics' commentaries directed the viewers' attention to the visual components that were highly relevant to the presented commentary. However, attention to specific features of a painting was not necessary for increasing the subjective aesthetic judgment when the artists' commentary was presented. Our results suggest that at least two different cognitive mechanisms may be involved in knowledge- guided aesthetic judgments while viewers reappraise a painting.

A study of the effect of a visual arts-based program on the scores of Jefferson Scale for Physician Empathy.

BACKGROUND: The effect of visual arts interventions on development of empathy has not been quantitatively investigated. A study was conducted on the effect of a visual arts-based program on the scores of the Jefferson Scale for Physician Empathy (JSPE). METHODS: A total of 110 clerks (n = 92) and first-year postgraduate residents (PGY1s) (n = 18) participating in the program were recruited into this study. The 4-hr program covered the subjects of learning to interpret paintings, interpreting paintings relating to medicine, illness and human suffering, the related-topics of humanitarianism and the other humanities fields and values and meaning. The JSPE was completed at the beginning (pretest) and the end (posttest) of the program. RESULTS: There was no significant difference between the pretest and posttest JSPE scores. The average of the scores for the pretest was lower in the subgroup of PGY1s than the subgroup of clerks (p = 0.0358). An increased but not significantly mean posttest JESPE score was noted for the subgroup of PGY1s. Neither the females nor the males had higher posttest JSPE scores than the pretest scores. CONCLUSIONS: Although using a structured visual arts-based program as an intervention may be useful to enhance medical students' empathy, our results failed to show a positive effect on the JSPE Scores for a group of clerks and PGY1s. This suggests that further experimental studies are needed if quantitative evaluation of the effectiveness of visual-arts based programs on empathy is to be investigated.

Art, class and gender in Joseon dynasty Korea: representations of lower-class women by the scholar-painter Yun Duseo.

This paper examines several pioneering genre paintings by the important scholar painter Yun Duseo (1668-1715), with its focus on their artistic sources which have not yet been explored so far. Painted on ramie, 'Women Picking Potherbs' is one of the most intriguing examples among Yun Duseo's oeuvre, which encompasses a broad variety of themes, including genre imagery, landscapes, portraits, dragons, and horses. Even among Yun Duseo's genre paintings, 'Women Picking Potherbs' is extraordinary, as recent scholarship regards it as the earliest independent representation of lower-class women in the history of Korean art. In particular, Yun Duseo painted two women who were working ourdoors to gather spring potherbs. In a conservative Confucian society, it was extraordinary women who were working outdoors. Hence, Yun Duseo occupies a highly important place in Korean painting. Furthermore, even though Yun Duseo came from the upper-class, he often painted images of lower class people working. It is possible that Yun Duseo was familiar with the book titled "Tian gong kai wu" (Exploitation of the Works of Nature) which was published in the 17th century. By identifying the probable body of his artistic sources in the book known as "Tian gong kai wu," it will be possible to assess the innovations and limitations found in 'Women Picking Potherbs'.

Ways of seeing: using the visual arts in nursing education.

Professional nursing defines its foundation of practice as embedded in the sciences and humanities of a liberal education. This liberal education is commonly alluded to with the phrase "the art and science of nursing." Yet how do we as nursing educators integrate these two concepts? This article describes a method of integrating the humanities as part of an innovative clinical experience. A defined visual art experience was used to improve professional nursing students' observational and communication skills, narrative sequencing abilities, and empathy. The nursing and medical literature describing the use of visual art encounters in health care education is reviewed. The incorporation of an art education program into the curriculum of a cohort of accelerated baccalaureate nursing students is described. Qualitative evaluation measures from the students suggest this was an experience that broadened their understanding of patient encounters.

White girls: avant-gardism and advertising after 1860.

James McNeill Whistler's painting "The White Girl (Symphony in White, No. 1)" caused a scandal for depicting a woman dressed all in white, uncontained by any clear framing narrative. Though the painting is usually read into history of modernism for its experimental play with tones of white, in fact the painting was linked by Victorian viewers to the mass-cultural phenomenon surrounding Wilkie Collins's sensation novel "The Woman in White." By examining the two works together, this article shows that the divide between the world of fine arts and that of sensational entertainment is perhaps more entrenched in our own canons than it was for Victorian spectators and consumers.

"Smite this sleeping world awake": Edward Burne-Jones and "The legend of the briar rose".

Challenging entrenched preconceptions about the supposed escapism and conservatism of Edward Burne-Jones's art, this paper seeks to establish his monumental painted series, "The Legend of the Briar Rose," as a fundamentally radical and confrontational work. Critics have long viewed it as an endorsement of sleepy stasis, antithetical to the political activism espoused by his friend William Morris. By unraveling the intertwining themes of the series -- the transformative dream vision, artistic labor, the decorative mode, and social egalitarianism -- the "Briar Rose" series is revealed instead to be dramatization of the struggle for personal, social, artistic, and even environmental awakening.

"To wipe a manly tear": the aesthetics of emotion in Victorian narrative painting.

Over the course of the twentieth century, Victorian narrative painting became synonymous with sentimentality, melodrama, and the artificial evocation of emotion. This essay aims to complicate this familiar assessment by examining the role of emotional effect played in aesthetic evaluations of some of the most popular modern life genre paintings of the 1850s to 1870s. I argue that the critical discourse on Victorian narrative painting was marked by a persistent skepticism about the role of feeling in aesthetic response -- as excessively painful or obvious emotional impact marked the limit between artistic success and failure -- and I locate these concerns within the physical and social exhibition culture of the Royal Academy.

See Josephus: viewing first-century sexual drama with Victorian eyes.

This article looks first at how the art of J.W. Waterhouse responds to the classical world: how complex the scene of reception is, triangulated between artist, the ancient past, and his audiences, and extended over time. Second, it looks at how this scene of reception engages with a specific Victorian problematic about male sexuality and self-control. This is not just a question of Waterhouse using classics as an alibi for thinking about desire, but also of the interference of different models of desire and different knowledges of the classical world in the reception of the painting's narrative semantics.

Looking is not seeing: using art to improve observational skills.

This project evaluated the effects of an art museum experience on the observational skills of nursing students. Half of a class of non-nurse college graduates entering an accelerated master's degree program (n = 34) were assigned to a museum experience, whereas the other half (n = 32) received traditional teaching methods. Using original works of art, students participated in focused observational experiences to visually itemize everything noted in the art piece, discriminate visual qualities, recognize patterns, and cluster observations. After organizing observed information, they drew conclusions to construct the object's meaning. Participants visiting the museum subsequently wrote more about what they saw, resulting in significantly more objective clinical findings when viewing patient photographs. In addition, participants demonstrated significantly more fluidity in their differential diagnosis by offering more alternative diagnoses than did the control group. The study supports the notion that focused viewing of works of art enhances observational skills.

Gender and eloquence in Ercole de' Roberti's "Portia and Brutus".

A commonplace of modern feminist scholarship holds that fifteenth-century Italian humanists regarded the figure of the articulate women with hostility and suspicion. This position is insufficiently nuanced: while it may have been true to some extent in republican contexts, it was emphatically not the case in the secular princely courts, where women's capacity for eloquence was frequently a subject of praise. Humanistic attitudes toward female eloquence are examined here with special reference to Ercole de' Roberti's representation of the classical heroine Portia in oratorical guise in his Portia and Brutus, painted at the court of Ferrara in the late 1480s or early '90s. The article contextualizes Roberti's painting with regard to its classical literary sources, to contemporary practices of female oratory, and to the cultural and social self-positioning of the work's probable patron, Duchess Eleonora d'Aragona.

Beauty and simplicity: the power of fine art and moral teaching on education in seventeenth-century Holland.

Seventeenth century Dutch genre painting played a major role in the promotion of the pursuit of family and educational virtues. Packing moralistic messages in fine paintings was considered as a very effective moralistic communication policy in a culture in which sending such moralising paintings and drawings on education and domestic virtues, so contributing to the reconciliation of the existing tensions, or, in the words of Simon Schama, embarrassment between beauty and the promoted virtues of frugality and simplicity. A broad middle class created its own private surrounding in which morality and enjoying the beauty of moralising on the family and parenting went together, as is made clear by the analysis of a series of representative images. Dutch parents, moralists, and painters knew the power of beauty in moralising on the family.

Exercises for mind and body: Giulio Mancini, collecting, and the beholding of landscape painting in the seventeenth century.

This article explores the intellectual foundations for the development of princely art collections, and of Italian picture galleries in particular, as spaces for combined physical and mental exercise and recreation. This study then establishes the relationship between the therapeutic function of picture galleries and the manner in which landscape paintings produced for princely collectors at this moment in Italy embodied ideals of both exercise and repose.

Drawings for an exacting author: illustrations from Giovanni Antonio Scopoli's "Deliciae florae et faunae insubricae".

Giovanni Antonio Scopoli (1723-1788) was one of the most versatile naturalists in eighteenth-century Italy. In 1785, Scopoli conceived the ambitious publication, "Deliciae florae et faunae insubricae". Appearing in installments, this included descriptions and illustrations of plants, animals and minerals found in northern Italy. Unfortunately, Scopoli's sudden death halted publication of the "Deliciae" after its third installment. Recently, a corpus of 98 paintings, in the gouache style, were discovered in the Biblioteca Universitaria of Pavia. These gouaches appear to be the basis for plates planned in future installments of the "Deliciae". Marginal notes in Scopoli's handwriting are included. Because Scopoli's plant and animal specimens have been destroyed or dispersed, these drawings are crucial for reconstructing his scientific opus. Combined with other documents, Scopoli's marginal notes also reveal his exacting standards. He criticized the way his artists had poorly rendered the scientific details of the paintings.

Blending aesthetics and empirics: teaching health assessment in an art gallery.

An art gallery was used successfully as a clinical laboratory for nursing students studying health assessment. Art galleries provide students with a visually rich and stimulating environment that can support the development of astute visual inspection skills. Working in pairs, students examined artwork incorporating design elements common to both physical assessment and artistic inquiry. Students described new learning and clinical application through this innovative laboratory experience. Uniting traditionally empirical coursework with an aesthetic learning opportunity is important in the development of caring, humanistic professionals.