The Emotionally Evocative Effects of Paintings

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The EmotionallyEvocative Effects of PaintingsStephenW. P.Kemp and Gerald C. CupchikUniversityfToronto

AbstractThis study xaminedhow subjectmatter (positive ersusnegativetheme) nd style (reserveduse ofoutline nd composition ersusexpressiveuse of color and shape) interactedo influencecognitive and affective responses to paintings.Twenty-fourales and 24 femalesparticipatedin n experiment nvolving6paintings n hichsubjectmatter nd stylewere factoriallyrossedwith4 replications n ach cell.The dependentmeasures were the ratings of each artwork oneight -point cales pertaining ocognitive e.g.,evoked primarily houghts) nd affective e.g.pleasingness and expressiveness) responses tothe artworks. The combination of negative subjectmatter nd bothstyleshad powerfulffectson ratings.xpressivepaintings epicting egative themes were experienced as aversive andviewers chose not to see them again. Paradoxically, the reserved treatment of negative themesevoked more intense emotional experiencesand made the paintings appear more expressive. Participants who were generally disposedto become absorbed inart, film, literature, andmusic were responsive to the emotional qualities of paintingsembodyingnegative themesand wanted to see them again. Those who werein negative affect state at the outset of the experimentlso wanted tosee thepaintingswithnegative themes a second time, primarily however, because they evoked thoughts rather thanfeelings. hese findings elate to twoclassicalprinciples inpsychological esthetics involvingthe tendency fviewerstopreferrtworks hat(1)evokemoderate statesofstimulationnd (2)achieve an optimalbalance between personalmeaningof the ubjectmatter nd appreciationof the tylisticroperties.One goal of thepsychology of art is tounderstand how the subject matter and styleof paintings shape cognitive and affectiveresponses inviewers. Before embarkingupon any kind of empirical work, it is important to formally rasp these fundamen

talconcepts. At one level, subjectmatterencompasses a limited et ofconventionalmotifs such as landscape, still-life, ortraitor group action. But as a snapshot of life,subject matter can depict events that vokepositive and negative emotions of varying complexity. Research has shown thatpaintings of positive themes, such as social gatherings, appear simple,warm, andnotemotionally intense,whereas paintingsrepresenting negative themes, such asaggression or alienation, seem complex,cold, and emotionally intense (Cupchik &Gebotys, 1990). Untrained viewers tendto prefer paintings with positive subjectmatter that evoke pleasant associationsand warm feelings,whereas experiencedviewers favor the challenge posed by thestyle ofmore complex artworks (Winston& Cupchik, 1992).Definitions of style generally describestructural and expressive aspects of artworks. From a structuralperspective, Wemay think f style as a system of creating,modifying, selecting, arranging, and interpreting forms (Sparshott, 1963, p. 98) andSuch terms as 'mannerism' and 'cubism'allude to bodies of practice united historically and synergetically (Sparshott, 1982,p. 227). Similarly, A style...is an interrelated set of traitswhich is characteristic ofthe rtproduced in certainplace and period,by a certain group or individual rtisf(Munro, 1970, p. 237). Shapiro broadensthis treatment to include expression whenhewrites Astyle is like language,withaninternal rder and expressiveness, admitting varied intensity r delicacy of statement (Shapiro, 1968, p. 86). Accordingly,...the general trend of research has beento look forfeatures thatcan be formulated

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inboth structuraland expressive-physiognomic terms (Shapiro, 1968, p. 85).Wolfflin 1915/1950) proposed ananalogous distinction between linearandpainterly styles contrasting perception ofan object by itstangible character-?in outline and surfaces and perceptionwhichis by way of surrendering itself to themere visual appearance (p. 14). Cheney's(1934/1962) analysis of Expressionismfocused on form[which]cannot be seenso much as felt (p. 73). Arnheim (1971)similarly argued that expression is contained in the pattern itself (p. 429) suchthat the impactof the forces transmittedby a visual pattern is an intrinsicpart ofthe percept....[and] can be described astheprimarycontent ofvision (p.430). Thecriticalcontrast is thereforebetween geometric-technical informationconveyed bythe constrained use of line and composition and the dynamic use of stylisticelements toprovide a direct and spontaneousphysiognomic experience of expressiveforces (Werner&Wapner, 1952).This study examined how positive versus negative subject matter and reserved(i.e., highly structured) versus expressivestyles in paintings affected the cognitiveand affective responses of viewers. Twoclassic theories inpsychological aestheticsprovide a frameworkforunderstanding theprocess. Bullough's (1912) theoryof psychical (i.e., aesthetic) distance addressesthe extent towhich works ofart,drama, andliterature raw the audience in rpush themaway.According tohis principle f concordance , a work draws the person in to theextent that it spersonally relevantbecauseit corresponds with our intellectual andemotional peculiarities and the idiosyncracies ofour experience (p.92). His principleofpsychical distance holds that thegoal ofaesthetic reception ismaximal involvementwithout excessive self-absorption; utmostdecrease ofDistance without itsdisappearance (p. 94). In therwords, there is needto balance between subject matter that ispersonally meaningful and stylewhich reminds us that, fterall, this is stilla workofart, drama, and so on. Inthisway, a per

son can appreciate it ithoutbecoming lostinthework and overcome by it. hen theformalstyle of a work pushes an audiencetoo far way (over-distancing) there is littleemotional involvement, ut works thatcreate under-distancing throughpotent subjectmatter can equally repulse the viewer.Scheff (1979) has argued thatan optimaldegree of aesthetic distance has a catharticeffectso thatpent-up emotion is safelyexpressed.Psychological aestheticians havefocused on the result of this process,the relative experience of pleasure andarousal (i.e., activation or excitement, seeBerlyne, 1971). The principleof the aestheticmiddle , firstrticulated by Fechner(1876/1978; see also Arnheim, 1985) andlatergiven empirical support by Berlyne(1971, 1974), holds that recipients prefermoderate levels of arousing stimulation.Accordingly,people preferstimuli thatareneither too simple (leading to boredom)nor too complex (leading tocognitive overload). However, thisshould be viewed asa sliding scale; what ismoderate for negroup isbanal for nother.Thus, untrainedviewers prefer rtworks that voke pleasantassociations, whereas experienced viewers preferpaintings that ffer reater levelsof challenge and stimulation (Winston &Cupchik, 1992). Accordingly,pleasure canderive either frompositive associations tosubject matter or frominterpretive nvolvement with challenging artworks (Cupchik&Gebotys, 1990).Together, the principles of psychicaldistance and of the aesthetic middle suggest that viewers will findmost pleasingand engaging those paintings that temperpersonally meaningful subject matter withjust the rightdegree of aesthetic formalism.Responses to artworks thatembodypositive subject matter generally lie inthemoderate zone of pleasure and should beless affected by variations in restrainedcomposition or theexpressive treatment fcolor and space. However, paintings thatrepresent complex negative themes aremore difficult opredict.The highly xpressive treatment f a negative theme should

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increase a viewer's state of arousal intothe upper range, therebymaking it otentiallymore aversive. On the other hand,the restrained treatment of a negativetheme should bringoverall experience intothe preferredmoderate range.While theviewermight feeloverpowered by a negative theme, a formalstyle can provide theneeded distance forappreciating its interesting qualities.Research has shown thatsubjects whodemonstrated a trait-likedisposition tobecome absorbed in films,music, literature and paintingwere highly responsiveto complex and personally meaningfulartworks (Cupchik & Gignac, 2007). Thiswas previously observed ingallery visitorswho personalized sculptures by recalling autobiographical episodes (Cupchik& Shereck, 1998) and readers who wereabsorbed in literary exts (Braun & Cupchik,2001) or poetry (Hilscher& Cupchik,2005). In ddition, subjects who were innegativemood state at theoutset of theexperimentwere responsive to very expressive artworks (Cupchik& Gignac, 2007). Inthe present study, these same measureswere examined in relation to a new arrayof artworks.

MethodSubjects and DesignForty-eight undergraduates?an equalnumber of males and females?enrolledin psychology course at theUniversityofToronto, received course credit forparticipating inthe experiment. Seventy-eightsubjects fromtwo experiments (see Cupchik& Gignac, 2007) completed theEverydayMood Survey and State Mood Measurein rder toobtain baseline assessments ofunderlying factors and individual subjectweights were derived indicating relativesensitivitytoeach of the factors.A 2 2 2 mixed factorialdesign (with4 replicationsper cell) was used. The between-subjects variable was Gender andthewithin-subjects variables includedSubjectMatter (Positive, Negative) and Emo

tional Style (Reserved, Expressive) with4 replications in ach cell. The dependentmeasures were ratingsof each artworkoneight 7-pointverbal rating cales pertainingto perceived expressiveness of the painting (1 = not at all, 7 = extremely); affectivequalityof itstheme (1 = extremely positive,7 = extremely negative); whether thepaintingevoked primarily thoughts or feelings(1 = thoughts,7 = feelings); preference forsubject matter or style (1 = subject matter, = style); pleasingness of thepainting(1 = not at all, 7 = extremelypleasing); relativeawareness of themood inthepainting(1

= not at all, 7=

extremely ware); whetherthepaintingexpressed yourmood or affectedit (1 = express mood, 7 = affectmood);and if hesubjectwanted to ee thepaintingagain (1 = not at all, 7 = verymuch).MaterialsPaintings. Slides of 16 artworkswere selected by a Toronto based artist and arteducator (Larry Shereck) fromworks ofthe following painters: Mondrian, Monet,Beckmann, Van Gogh (twopaintings), Tissot, Puvis de Chavannes, Manet, David,Colville, Gorki, Dubuffet, Rouault, Ensor,Kirchener, and Seurat. Paintings werechosen within a factorial combination ofSubject Matter (Positive/Negative), andStyle (Expressive/Reserved) with fourreplicationsper cell. Two landscape or still-lifepaintings and two figurative orks (nudes,solitary figures, social groups) were assigned to each of the four cells of thedesign (see Table 1). Positive subjectmatter was generally embodied inmoresuperficial content involving landscapes,still-life,nudes, or social events. Negative subject matter embodied existentialthemes of life r death and touched on theemotion of sadness. For the purposes ofthisstudy, style of a painting refers to theunique way that physical/sensory qualities are structured. Expressive paintingsin this experiment use color tomake ascene appear more intense, whereas reserved paintings use outline and composition to structure the work. This contrast

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Table 1Paintings varying inSubject Matter (Positive,Negative) and Style (Expressive, Reserved)

SUBJECT MATTERPositive Negative

Seurat, Grand Jatte, 1884-85Mondrian, Tree Along theRiver, 1908Monet, Grainstacks, End ofSummer, 1891Tissot, Woman AlightingFrom a Boat, ca. 1876

Beckman, Night, 1918-19Gorki, Water of theFlowery Mili, 1944Ensor, ConfrontingDeath, 1888Dubuffet, Cow, The Merry Beauty, 1954

Kirchner,Berlin Street, 1913Van Gogh, Sunflowers, 1888Rouault, Nude Torso, 1909Van Gogh, Mountainous Landscape Near

Saint Remy, 1889

Colville, Horse and Train, 1954David, Death ofMarat, 1793Ma ret, xecution ofEmperor Maximilian,1867Purvis de Chavannes, Poor Fisherman,

1881

iscomparable to theVenetian and Florentine traditionsof colore and desegno, respectively.Everyday Mood Survey The questionnaire included 28 itemspertaining to therole ofmood ineveryday life nd in esthetic preferences for films, paintings,

music, and literature.Responses weremade on a 5-point scale: (1) hardly ever,(2) rarely, (3) sometimes, (4) often, and(5) all the time. Sample questions thatloaded on Factor 1 included (see Cupchik& Gignac, 2007):Ieasily identifyith haracters inmoviesor books. (Loading = .80)

When Isee a movie or read a book thatexpresses how I feel, Ieasily lose myselfin the characters. (.72)I'm sensitive to the mood inmovies, stories, or music. (.72)I can be completely moved by a movie,

play, or book. (.65)When I look t a painting r picture, 'msensitivetothemood it onveys. (.58)Iconsciously compare the mood inmovies, stories, music, or artworks to myown. (.51)When Ihearmusic that xpresses how Ifeel, I an easily losemyself in t. .50)

State Mood Measure. This measurewas constructed by combining different subscales of the DifferentialEmotionScale (DES: Izard, 1971), Russell Adjec

tive Scale (RAS: Russell, 1979), MoodAdjective Checklist (Nowlis, 1965), andtheMultipleMood Rating Scale (Plutchik,1980). Subjects used 7-pointscales to ratethemselves on four ffect dimensions withthe termextremelydefining theend pointsforrelaxed-tense, bored-stimulated, agreeable-disagreeable, and calm-excited. Theyalso rated themselves on five emotionscales; How sad (angry,anxious, happy)do you feel? and Do you feelguiltyaboutsomething? (1 = not at all, 7 = extremely).ProcedureSubjects were run ingroups of 4 eachcomprising 2 males and 2 females. Theycompleted the 28-item Everyday MoodSurvey and the 9-item State Mood Measure before judgingthepaintings. Paintingswere grouped intoblocks of 4, each blockconsisting of 1 of the 4 kinds of paintings(e.g., Positive Subject Matter/ExpressiveStyle). They were each viewed for 0 seconds ina single randomized order. Afterviewingeach painting,subjects rated themindividuallyon the eight 7-point scales(expressiveness, positive/negative theme,evokes thoughtsor feelings,preference forsubject matter versus style, pleasingness,awareness ofmood inpainting,expressedor affected viewer's mood, and desire tosee the painting again). A concurrent experimentwas conducted with these same




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subjects on responses to eight literarypassages withpositive or negative themesthatwere engaging or detached in theirstyles (Cupchik & Kemp, inpress). The artand reading tasks were counterbalancedacross subjects so as not tobias their erformanceon either task.

ResultsOverviewSeparate analyses of variance were usedtodetermine the effectsof theSubject Matter nd Style variables on the eight verbalrating cales. Measures of absorption andnegative affect tatewere derived by factoranalysis fromresponses to the EverydayMood Survey and Mood State measure bythe48 students inthisexperiment and 30others in the study by Cupchik and Gignac (2007). This largersample served tostabilize the factors nd individualweightsreflecteddifferential ensitivity to each ofthe factors.Separate regression analyseswere performed todetermine which of therating scales used in the experimentalphase of the studywere the best predictorsof responses to thecentral factorsderivedfrom theEveryday Mood Survey andtheMood State questionnaire.Analyses ofVarianceSeparate ANOVAs were conducted foreach of theeightverbal rating cales, treatingGender as a between-subjects variablewith Subject Matter (Positive, Negative)and Style (Expressive, Reserved), andreplication (4 per cell) as within-subjectsvariables.Main Effects of Subject Matter. Significant main effects of Subject Matter werefound on seven of the eight scales (seeTable 2). Subjects could easily discriminatebetween positive and negative subjectmatter interms of theme,Fv 46= 408.41,p


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Table 2Main Effects for ositive or Negative Subject Matter and Expressive or Reserved Style

RATING SCALESPAINTINGS

SUBJECT MATTERPositive Negative STYLEExpressiveEmotionallyxpressivePositive versus negative themeEvoke thoughtsersus feelingsPrefer ubjectmatterversusstylePleasingEvokes mood awarenessExpress versus affect moodSee painting gain

4.33.193.814.44.544.263.894.09

5.44****5.39****4.53****4.152.99****4.93****4 Q2****3.55**

4.734.193.954.543.574.174.293.6

p


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a. Emotional Expressivity b. Evoke Thoughts versus Feelings

Negative PositiveSubject Matter

5.5

4.5

3.5


c. Mood Awareness


d. View Image Again


Style:-Expressive- Reserved

Figure 1. Interaction of subject matter and style of the paintings formeasures of (a) emotional expressiveness, (b) evoking thoughts ersus feelings, c)mood awareness, and (d)desire toview theimage again.

movies, music, stories, and paintings, thatismatched against one's own. Thus, Factor 1,which was labeled absorption, represented a disposition to feel themood ina broad array of cultural artifacts,matchitwith one's own, and become lost in theworks. This factor reflects mutual interaction between cultural artifacts thatprovideemotional suggestions and recipientswhoproject theirown emotional connectionsonto them.State Mood MeasureThe 9 items in the State Mood Measurethatwere completed by the48 subjects inthisexperiment and the 30 subjects from

the Cupchik and Gignac (2007) experiment were submitted to a factoranalysiswith varimax rotation.A single factorwasextracted withan Eigenvalue of 2.44 whichaccounted for27.1% of the variance inthe responses. Five scales contributed tothe factorwith loadings of .50 or greater(see Cupchik and Gignac, 2007, Table 4).The factor indicated the degree of negativeaffect that the person experienced atthe outset of the experiment. It reflecteda combination of the affect dimension relaxed-tense (factor loading = .78) and theprimary emotions: sadness (.59), anger(.60), guilt (.50), and an absence of happiness (-.56).




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Regression AnalysesEveryday Mood SurveyA stepwise multiple regression analysiswas undertaken treatingFactor 1 of theEveryday Mood Survey, absorption, as acriterionvariable and theeight scales usedto rate the paintings as predictorvariables(see Table 3). Subject weights reflectingsensitivity o theabsorption factorfor he48subjects were derived from heoverall factoranalysis. The purpose of thisanalysis wastodeterminewhich qualities of experiencewere more salient forsubjects who weredisposed toabsorption in iverse media.A significantmodel involving our itemswas foundrelating bsorption to judgmentsof thepaintings,F4, ^ = 4.40, p


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cal distance holds that audiences searchfor n optimal balance between personalinvolvement inmeaningful subject matterand awareness of itsaesthetic intentionsand devices. From an operational perspective, itwas assumed thatpositive subjectmatter would stimulate both pleasure andinvolvement,whereas negative subjectmatterwould increase arousal and detachment. Reserved styles would decreasethe subjective experience of arousal byincreasing aesthetic distance, whereasexpressive styles would increase arousaland diminishaesthetic distance by spontaneously elicitingemotion intheviewer.None of the participants in this studyhad any training n rt history nd were unfamiliar ith thepaintings.They easily discriminated positive fromnegative themes,findingthe positive artworks to be morepleasing and wanting to see them again.Paintings representing negative themeswere experienced as more emotionally intense and expressive, though subjects didnot express a desire to see them again.These data are consistent with earlierwork contrasting simple,warm paintings ofpleasant themes with complex, cold, andemotionally intensedepictions of negativethemes (Cupchik & Gebotys, 1990). Subjects also responded differentially o theexpressive and reserved styles. They wereparticularly aware of themood in the reserved paintingswhich were experiencedas expressive and evocative of feelings.This finding indicates thatmere outlineand rigorous composition does not in ndof itself iminish theaffectivequality of anartwork.Viewers were also sensitive to thestyle of theexpressive paintings but foundthem less pleasing by comparison.The crucial results showed how thecombination of subject matter and styleshaped reactions to the paintings. As expected, the paintings depicting positivethemeswere less affected by variations instyle. However, style had a strong impacton the affective experience of paintingsembodying negative themes. Two differentdynamics were at work.When the subjectmatter was negative and the style was

highlyexpressive, viewers did not want tosee the paintings again. The experiencemay have been too intense in that theevocative effects of negative subject matter nd expressive stylewere additive andpushed the viewers' experiences beyondthe boundaries of the aesthetic middle.On the other hand, a reserved treatmentof paintings with negative themes heightened both the self-conscious experienceof emotion and the attribution of expressiveness to theworks themselves.While areserved style magnified the impact of anegative theme,viewers saw its ource asthe artworks themselves, implying reateraesthetic distance.This paradox, whereby restraintactuallymagnified theperceived expressive qualityof negative themes, encouraged us to revisit themeaning of framingthemomentinpainting.When a negative theme ispresented ina reserved style, the carefullycontrolled scene appears tobe an out-takefrom film.Accordingly,Marat sits dead inthe tub still holding his writing implement(David), the horse racing along a railroadtrack towardan oncoming train ppears oncourse for ertain doom (Colville), EmperorMaximilian has justbeen shot,with thesmoke coming from the riflemuzzles, buthe has yet to fall(Manet), and thepoor fisherman iscaught in reflective ose beforehis boat (Puvis de Chavannes). In eachcase, something significanthas happenedor is bout tohappen. So thebounded useof outline inthe reserved style echoes thepainting's frame, isolating a moment intime and therebymaking it ppear all themore poignant. This freeze-framing llowsthe viewermore time to take in the sceneand have a deeper experience of the narrative,which yields a more profound emotional experience. A more elaborate discussion of the impactof framing isofferedby Paquin (1992). Contrived staging, juxtapositioning ofsubject matter, and melodramatic gestures might also give viewers themessage that this is a dramatization of amoment rich inmeaning.From a psychological perspective, anticipationand tension are heightened but




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the resolution is not graphically displayed.According to Bullough's principle of psychical distance, theeffectof style is to bothfreeze themoment and remindus thatthisis, after all, still a painting.This increaseinaesthetic distance accords nicelywiththe Fechner/Berlyne principle of the aestheticmiddle because it tillkeeps theexperience of tension inthemoderate range.This also fits ith Kavolis' (1968) sociological account of expressive style: But, fromthepoint of view of sociological research,style isa projection of subjective (affectiverather than cognitive) perceptions of, andresponses to, situations of action (p. 6).The effectof framing s to create theequivalent of an evocative out-take in themidstof unfolding action. By way of contrast,when the negative themes are presentedin highly xpressive style, theexperienceof tension in the moment is heightenedand aesthetic distance is reduced therebymaking theencounter aversive.The individual difference findings,which take into ccount both traitnd statevariables, provided some insightintowhatmotivates a person to want further ncounters with artworks. Participants withan enduring trait-likedisposition toabsorption invaried culturalartifactschose, forsecond viewing, paintings with negativethemes that evoked feelings or affectedtheirmoods. This findingwas echoed intheconcurrent study involving iteraryassages (Cupchik & Kemp, inpress). Subjectswith high loadings on theabsorptionfactorwanted to read the rest of the storywhen the excerpted passages were perceived to be emotionally intense and expressive. On theother hand, subjects whoarrived at theexperiment in negative affectstate also chose to see the paintingsdepicting negative themes a second timebut, in theircase, the artworkswere experienced as primarilyevoking thoughts.In the concurrent reading study, subjectsina high negative affect state preferredpassages that evoked pleasant feelingsand reflective thought.Consistent acrossthe twoparts of thepresent study,we finda contrast between absorption-oriented

viewers who generally want experiencesinvolving ntense art or literary orks thatreduce aesthetic distance and those innegative affectstatewho are fascinated bythe intense artworks and pleasing literarypassages but need some aesthetic distance in rder to think bout them.These findingscan also be related tothose obtained by Cupchik and Gignac(2007) who examined thesame viewer traitand state variables. Inthatstudy, bsorptionoriented viewers foundchallenging imageswithmultiple layersof imgery obe particularly ersonallymeaningful. Participants ina negative affect tate found images depictingnegative life hemes in directmannerto be personally meaningful but attributedthe locus of emotion to the artworks.Takentogether, these two experiments suggestthatabsorption-oriented subjects favortheemotional experiences that result from ncountering challenging artworks. Subjectsina negative affect state prefer the extrapsychical distance that omes fromprojectingtheirnegative moods onto the artworkand reflecting n (rather than feeling) themeaning of the visual or literary ieces.This is reminiscentof lonely viewerswhofavored the style fpaintingsdepictingsolitary igures ver the subjectmatter (Cupchik & Wroblewski-Raya, 1998); aestheticdistance diminished the anxiety inducingqualityof the theme.Insum, this study examined thewaysthat subject matter and style can predictemotional experiences of artworks,particularlywhen viewers' individualdifferencesare taken into account. Paintings depicting negative lifethemes are very potentand theirexpressive quality isactually enhanced when a restrainedstyle frames thescene. The juxtapositionofa painful themewith the control of a reserved style establishesa kind ofstylistic irony hat isveryeffective. iewers, who generally enjoy beingabsorbed in llmanner of culturalartifacts,respond favorably othe feelings that thesenegative themes elicit. Those viewerswhose negative affect states resonate withthese negative themes also want to seethemagain but respond in more thought




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ful nd detached way. These findingscanbe productively understood within theframeworkof traditional ideas inpsychology regarding preferences formoderatingarousal and establishing a proper aestheticdistance from rt or literary orks.Author Note

1. Steven Kemp is now at the Department of Psychology, UniversityofCalgary,Calgary, Alberta, Canada.

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Braun, I.,& Cupchik, G. C. (2001). Phenomenological and quantitative analyses of absorption nliteraryassages. Empirical tudies oftheArts, 19(1), 85-109.

Bullough, E. (1912). Psychical distance as afactor in art and as an aesthetic principle.British Journal of Psychology, 5, 87-98.Cheney, S. (1962). Expressionism in art. NewYork: Liveright. (Originalwork published

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Fechner, G. (1978). Die Vorschule derAesthetik(2 vols.)Hildesheim:Georg Holms. (Originalworkpublished 1876)Hilscher, M. C, & Cupchik, G. C. (2005). Read

ing, hearing, and seeing poetry performed.Empirical tudies of theArts, 3(1 ),47-64.Izard, C. E. (1971). The face of emotion. NewYork: Appleton-Century-Crofts.

Kavolis, V. (1968). Artistic expression?A sociological analysis. Ithaca, NY: Cornell University Press.Munro,T. (1970).Formand style inthe rts:Anintroduction to aesthetic morphology. Cleveland, OH: Case Western Reserve University.Nowlis,V. (1965).Research with themood adjective checklist. InS.S.Tomkins & C.E. Izard(Eds.),Affect,ognition,nd personality pp.352-389). New York: Springer.Paquin,N. (1992).The frames a key tovisualperception. In G.C. Cupchik and J. Laszlo(Eds.),Emergingvisions f the esthetic rocess. Psychology, emiology,philosophy pp.37-47).NewYork:CambridgeUniversityress.Plutchik, . (1980).Emotion:Apsychoevolutionary synthesis. New York: Harper & Row.Russell, J.A. (1979).Affectivepace isbipolar.JournalofPersonalityand Social Psychology, 7, 1152-1168.Scheff, . J. (1979).Catharsis inhealing, ritual,and drama. Berkeley: University of CaliforniaPress.

Shapiro,M. (1968). Style. InM. Philipson (Ed.),Aesthetics today (pp. 80-113). New York: Meridian.Original orkpublished 1953)Sparshott, F. E. (1963). The structure of aesthetics. Toronto, ON: University of Toronto Press.Sparshott, F. E. (1982). The theory of the arts.

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Winston, A. S., & Cupchik, G. C. (1992). Theevaluation fhigh rtand popularartbynaive and experienced viewers. Visual Arts Research, 18(1), 1-14.Wolfflin, . (1950). Principlesof arthistory. heproblemof thedevelopmentofstyle in laterart (M. D. Hottinger, Trans.). New York: Dover.(Original orkpublished1915)

Correspondence concerning this articleshould be addressed toGerald C. Cupchik,Universityof Toronto at Scarborough,Life Sciences Department, 1265 MilitaryTrail,Scarborough, ON, Canada M1C 1A4,cupchik@ utsc. utoronto. a.82 StephenW. P.Kemp /Gerald C. Cupchik

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The Emotionally Evocative Effects of Paintings