Abigail Housen’s Artistic Development: The Stages of Art Perception
Art evokes myriad reactions, ranging from discomfort and boredom to irritation or inspiration. These varied responses spurred Abigail Housen’s deep exploration into the cognitive underpinnings of art appreciation, leading to the identification of five distinct stages of aesthetic consciousness.
Through her comprehensive research, Housen demonstrated that irrespective of cultural or socioeconomic backgrounds, individuals consistently navigate through a predictable sequence in their visual interpretation of art. Each articulated thought, association, and observation served as a clear indicator of the observer’s current interpretative stage.
Here, I outline the defining attributes and characteristics of each stage, shedding light on how individuals at distinct levels perceive and interpret artworks.
In the 1970s, Abigail Housen embarked on an in-depth exploration into how individuals perceive, interpret, and relate to art, as well as its influence on their decision-making and visual cognition over time.
Housen’s research unveiled that individuals’ capabilities to understand and reflect on art evolve systematically and predictably. This developmental trajectory remained consistent, irrespective of the wide variances in their cultural and socioeconomic backgrounds.
Drawing parallels with renowned researchers such as Piaget, Maslow, and Kohlberg, Housen identified consistent stages in the psychology of artistic perception. During her research, participants were prompted to verbalize their thoughts spontaneously while viewing various art pieces. Every word, idea, and observation was meticulously documented and analyzed, reminiscent of the methods used in Rorschach tests.
Housen ascertained that viewers process artworks through identifiable stages, each characterized by its distinct attributes in interpreting the image. Subsequent collaborations with Karin DeSantis solidified that when exposed to a sequenced series of Visual Thinking Strategies (VTS) materials and artworks, participants’ interpretative methods evolved predictably. Intriguingly, as participants progressed in their aesthetic understanding, they concurrently honed critical and creative thinking skills beyond the realm of art interpretation.
1. Accountive
2. Constructive
3. Classifying
4. Interpretative
5. Recreative
1. Accountive
At this stage, viewers distill an artwork into succinct points, drawing upon their sensory perceptions, past memories, and personal associations. Their observations are straightforward and grounded in the tangible aspects of the artwork. Assessments are influenced by familiar elements and personal preferences, with emotions playing a notable role in their commentary. This interplay of personal sentiment and narrative often shapes their remarks. For instance, when observing Picasso’s ”Girl in front of a mirror,” individuals at this stage remarked:
”Predominant shapes: lines, ovals, squares.”
”Reminiscent of a giraffe’s back and a dog’s face.”
”Portrayal of two women in an embrace.”
”Striking wallpaper design
2. Constructive
At the Constructive stage, viewers embark on crafting a foundational artistic schema, leveraging their immediate perceptions, their understanding of the natural world, and the principles rooted in their social and ethical environments. All observations stem from a tangible, definitive frame of reference. A work is assessed based on its adherence to realism; deviations in craftsmanship, technique, utility, or thematically inappropriate elements lead these viewers to deem a piece peculiar or without merit. For them, a realistic portrayal is the benchmark against which an artwork’s significance and value are gauged. Reflecting on Picasso’s ”Girl in front of a mirror” from a Constructive standpoint:
”The figures are anatomically accurate with five fingers.”
”While the hair of the primary figure is portrayed in a realistic blonde, the use of purple for faces seems out of place.”
”Contrary to typical circular patterns, Picasso employs diamond shapes in the background
3. Classifying
Viewers at this level take the analytical and critical stance of the art historian. They strive to identify the artwork’s place in the world based on school, style, time and provenance. They read the work based on their own library of art historical facts, which they are happy to expand. This observer believes that the work’s value, message and meaning can be explained and rationalized in a correct way.
Stage 3 viewer comments on Picasso’s “Les Demoiselles d’Avignon”:
“I suppose in many ways this is reminiscent of primitive art, because the figures are flat and representational, and yet they are nude which is kind of 1800s to 1900s ’s theme, and at the same time it is a foreshadowing of modern art.”
“It seems that this is one of several Picassos that are really indicative of two of his styles which are here mixed together; this kind of monumental style for female depictions, and the later Cubist style that you see coming in here.”
4. Interpretative
At the Interpretative stage, viewers actively seek a profound, personal connection with the artwork. Their exploration of the piece allows its essence to gradually reveal itself, while they simultaneously appreciate nuanced elements like linearity, form, and hue. These viewers employ their analytical skills to bolster their emotional and intuitive responses, permitting the art’s deeper symbolic resonances to emerge.
Every interaction with the artwork presents fresh avenues for reflection, discernment, and aesthetic appreciation. Recognizing the evolving nature of the artwork’s significance, Interpretative viewers understand that their engagement is fluid, subject to variation and spontaneity.
Regarding Matisse’s “Dance” from an Interpretative viewpoint:
”Rather than strictly portraying the idealized human form, I believe Matisse had a grander vision. By abstracting certain features and possibly emphasizing others, he directs our attention elsewhere. The incomplete circle conveys a palpable tension, enriching the artwork’s interpretative depth.”
”The artwork’s inherent imperfections echo the rawness of humanity. The irregularities in the lines and proportions, which may carry their own meanings, resonate profoundly with me.”
5. Recreative
Viewers at the Recreative stage possess a rich history of engaging with diverse artworks. To them, a well-acquainted painting is akin to a cherished friend, simultaneously deeply familiar yet constantly revealing new facets. Such artworks transcend the mundane, demanding consistent reflection and existing in a superior realm. For these viewers, time enriches their relationship with the art, allowing them to delve into its context, its historical milieu, its intrinsic inquiries, narratives, and tensions. Leveraging their extensive background with specific artworks and art appreciation as a whole, they seamlessly meld personal introspection with broader, universal contemplations. The painting becomes an extension of their memories and consciousness, weaving the individual into the grand reconcilliation of human experience. It transcends its material confines of canvas and pigment, as the viewer infuses it with life, reality, and dynamism.
Reflecting on Picasso’s ”Les Demoiselles d’Avignon” from a Recreative perspective:
”The painting exudes an intense sexuality, almost emanating outward, yet somehow also remains constrained within its canvas confines.”
”Despite its age, the painting emanates a vibrant freshness, feeling strikingly contemporary to me.”
”Considering Picasso’s preliminary sketches, which depicted a sailor and a doctor unveiling the scene of a brothel, his eventual decision to omit these figures feels intentional. By doing so, Picasso seems to be inviting the viewer into their roles, adding a deeper layer of engagement and interpretation to the artwork.”
