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Does Gallery Lighting Really Have an Impact on Appreciation of Art? An Ecologically Valid Study of Lighting Changes and the Assessment and Emotional Experience With Representational and Abstract Paintings
Matthew Pelowski
,
Andrea Graser
,
Eva Specker
,
Michael Forster
,
Josefine von Hinüber
&
Helmut Leder
Frontiers in Psychology
10 (
2019
)
@article{Pelowski2019-PELDGL-3,author = {Matthew Pelowski and Andrea Graser and Eva Specker and Michael Forster and Josefine von Hin\"{u}ber and Helmut Leder},doi = {10.3389/fpsyg.2019.02148},journal = {Frontiers in Psychology},title = {Does Gallery Lighting Really Have an Impact on Appreciation of Art? An Ecologically Valid Study of Lighting Changes and the Assessment and Emotional Experience with Representational and Abstract Paintings},volume = {10},year = {2019}}
Pelowski, Matthew ; Graser, Andrea ; Specker, Eva ; Forster, Michael ; von Hinüber, Josefine & Leder, Helmut (2019). Does Gallery Lighting Really Have an Impact on Appreciation of Art? An Ecologically Valid Study of Lighting Changes and the Assessment and Emotional Experience With Representational and Abstract Paintings. Frontiers in Psychology 10.
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References found in this work
Color Constancy.
David H. Foster
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2011
-
Vision Research
51:674-700.
Visualizing the Impact of Art: An Update and Comparison of Current Psychological Models of Art Experience.
Matthew Pelowski
,
Patrick S. Markey
,
Jon O. Lauring
&
Helmut Leder
-
2016
-
Frontiers in Human Neuroscience
10.
But Is It really Art? The Classification of Images as “Art”/“Not Art” and Correlation with Appraisal and Viewer Interpersonal Differences.
Matthew Pelowski
,
Gernot Gerger
,
Yasmine Chetouani
,
Patrick S. Markey
&
Helmut Leder
-
2017
-
Frontiers in Psychology
8.
The Science of Art: Optical Themes in Western Art from Brunelleschi to SeuratPerspective as Symbolic Form.
Patrick Maynard
,
Martin Kemp
,
Erwin Panofsky
&
Christopher S. Wood
-
1994
-
Journal of Aesthetics and Art Criticism
52 (2):243.
Art and the Power of Placement.
Victoria Newhouse
-
2006
-
Journal of Aesthetics and Art Criticism
64 (4):486-488.
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