Mass-Produced Original Paintings, the Psychology of Art, and an Everyday Aesthetics
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This book examines the contribution of mass-produced original painting to the psychology of art, psychological aesthetics, and art criticism. Mass-produced paintings are an inexpensive, accessible, ubiquitous, and hand-painted popular art by anonymous artists or teams. Sold in an array of outlets, ranging from flea markets to shopping centers to cruise ships, they decorate hotels, offices, and homes. Addressed is their neglect in current scholarship in favor of a nearly exclusive investigation of the high arts and their audiences, as represented by museum paintings. Lindauer contextualizes his...
This book examines the contribution of mass-produced original painting to the psychology of art, psychological aesthetics, and art criticism. Mass-produced paintings are an inexpensive, accessible, ubiquitous, and hand-painted popular art by anonymous artists or teams. Sold in an array of outlets, ranging from flea markets to shopping centers to cruise ships, they decorate hotels, offices, and homes. Addressed is their neglect in current scholarship in favor of a nearly exclusive investigation of the high arts and their audiences, as represented by museum paintings. Lindauer contextualizes his analysis by tracing the historical origins of this type of painting, popular art in general, and their evolutionary trajectory, exploring issues including: the impact of art and artists' creativity on viewers; the overemphasis on originality and name recognition; what is art and who can be called an artist; and the extension of aesthetics to include an everyday kind.
The book concludes with directions for future research in the popular and traditional arts, the psychology of art, and, more broadly, the ties that transcend barriers between science, the arts, and the humanities. It will appeal to students and scholars from across the fields of psychology, sociology, philosophy, art history, and cultural, media and communication studies.
The book concludes with directions for future research in the popular and traditional arts, the psychology of art, and, more broadly, the ties that transcend barriers between science, the arts, and the humanities. It will appeal to students and scholars from across the fields of psychology, sociology, philosophy, art history, and cultural, media and communication studies.
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