Beth Harland
Biographic Data
| ID | 5890664 |
|---|---|
| NAME | Beth Harland |
| GIVEN NAMES | Beth |
| FAMILY NAME | Harland |
| SIGNATURE | HARLAND B |
| AFFILIATIONS | Lancaster University |
| ORCID | 0000-0002-6423-467X |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
The spectatorship of portraits by naïve beholders
The spectatorship of portraits by naïve viewers (beholders) was explored in a single experiment. Twenty-five participants rated their liking for 142 portraits painted by Courbet (36 paintings), Fantin-Latour (36 paintings) and Manet (70 paintings) on a 4-point Likert scale. The portraits were classified in terms of focussed versus ambiguous nature of sitter gaze and the presence of salient features in the context beyond sitters. Participants rate…
Warholian Repetition and the Viewer’s Affective Response to Artworks from His Death and Disaster Series
In his Death and Disaster series, Andy Warhol repeated gruesome images of suicides and car crashes. The artist’s use of repetition has been discussed extensively but not in terms of its direct impact on the viewer’s perceptual and cognitive processing. This article considers the viewer’s affective experience resulting from repeated exposure to negative images in artworks from the Death and Disaster series. The authors put forward an account of th…
Modes of Address in Pictorial Art
Art-historical accounts of the last 200 years identify developments in the types, or “modes,” of address that a picture can present to a viewer as critical to the experience and evaluation of paintings. They report a case study of Manet's A Bar at the Folies-Bergère investigating expert and novice spectators' eye movements and utterances in response to the painting to find evidence that viewers seek resolution of the complex “double relation” tha…
No prominent works on this page.
Modes of Address in Pictorial Art
Art-historical accounts of the last 200 years identify developments in the types, or “modes,” of address that a picture can present to a viewer as critical to the experience and evaluation of paintings. They report a case study of Manet's A Bar at the Folies-Bergère investigating expert and novice spectators' eye movements and utterances in response to the painting to find evidence that viewers seek resolution of the complex “double relation” tha…
Warholian Repetition and the Viewer’s Affective Response to Artworks from His Death and Disaster Series
In his Death and Disaster series, Andy Warhol repeated gruesome images of suicides and car crashes. The artist’s use of repetition has been discussed extensively but not in terms of its direct impact on the viewer’s perceptual and cognitive processing. This article considers the viewer’s affective experience resulting from repeated exposure to negative images in artworks from the Death and Disaster series. The authors put forward an account of th…
The spectatorship of portraits by naïve beholders
The spectatorship of portraits by naïve viewers (beholders) was explored in a single experiment. Twenty-five participants rated their liking for 142 portraits painted by Courbet (36 paintings), Fantin-Latour (36 paintings) and Manet (70 paintings) on a 4-point Likert scale. The portraits were classified in terms of focussed versus ambiguous nature of sitter gaze and the presence of salient features in the context beyond sitters. Participants rate…
Aesthetic Perception and Analysis (3 works) · Art (3 works) · Visual arts (3 works) · Aesthetics (2 works) · Multisensory perception and integration (2 works) · Psychology (2 works) · Visual Culture and Art Theory (2 works) · Affect (linguistics) (1 work) · Artistic and Creative Research (1 work) · Bar (unit) (1 work)