{"id":328,"date":"2014-10-14T12:22:59","date_gmt":"2014-10-14T11:22:59","guid":{"rendered":"http:\/\/insight.lancaster.ac.uk\/dev\/?p=328"},"modified":"2014-11-25T15:32:47","modified_gmt":"2014-11-25T15:32:47","slug":"the-influence-of-pupil-alignment-on-spectator-address","status":"publish","type":"post","link":"http:\/\/insight.lancaster.ac.uk\/?p=328","title":{"rendered":"The influence of pupil alignment on spectator address to Manet\u2019s portraiture"},"content":{"rendered":"<figure id=\"attachment_807\" aria-describedby=\"caption-attachment-807\" style=\"width: 347px\" class=\"wp-caption alignright\"><a href=\"http:\/\/insight.lancaster.ac.uk\/dev\/wp-content\/uploads\/2014\/09\/DT200593.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-807 size-large\" src=\"http:\/\/insight.lancaster.ac.uk\/dev\/wp-content\/uploads\/2014\/09\/DT200593-347x428.jpg\" alt=\"DT200593\" width=\"347\" height=\"428\" srcset=\"http:\/\/insight.lancaster.ac.uk\/wp-content\/uploads\/2014\/09\/DT200593-347x428.jpg 347w, http:\/\/insight.lancaster.ac.uk\/wp-content\/uploads\/2014\/09\/DT200593-164x203.jpg 164w, http:\/\/insight.lancaster.ac.uk\/wp-content\/uploads\/2014\/09\/DT200593-300x369.jpg 300w, http:\/\/insight.lancaster.ac.uk\/wp-content\/uploads\/2014\/09\/DT200593.jpg 508w\" sizes=\"auto, (max-width: 347px) 100vw, 347px\"><\/a><figcaption id=\"caption-attachment-807\" class=\"wp-caption-text\">Edouard Manet, Head of Jean-Baptiste Faure, 1832\u20133. Image: The Metropolitan Museum of Art,&nbsp;OASC<\/figcaption><\/figure>\n<p><a href=\"http:\/\/insight.lancaster.ac.uk\/dev\/wp-content\/uploads\/2014\/09\/MoA-courtauld-3.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-325\" src=\"http:\/\/insight.lancaster.ac.uk\/dev\/wp-content\/uploads\/2014\/09\/MoA-courtauld-3.jpg\" alt=\"MoA courtauld 3\" width=\"1\" height=\"1\"><\/a>This research is part of the&nbsp;project <em>Modes of Address in Pictorial Art,<\/em> conducted by an interdisciplinary team of artists and scientists led by Professor Beth Harland (Lancaster University) with Professor Nick Donnelly and Professor Simon Liversedge (University of Southampton).<\/p>\n<p>The project explores aesthetic theories in visuo-cognitive psychological terms. Our goal is to take an understanding of the general framework of visual cognition to provide a&nbsp;new understanding of spectatorship in&nbsp;art.<\/p>\n<p>Following initial investigation of Manet\u2019s painting <em>A&nbsp;Bar at the Folies Bergere<\/em>, the team here proceeded to a&nbsp;further study of Manet\u2019s paintings, investigating spectator reaction to Manet\u2019s frequent use of pupil misalignment in his portrait paintings. The study encompassed the entire oeuvre of Manet\u2019s painted portraits and participants included experts (artists and ophthalmologists) and novices.<\/p>\n<p>Pupil misalignment is, we hypothesize, one mechanism that is central to a \u2018double relation\u2019 between painting and spectator, creating ambiguous images that are at once both absorptive and theatrical in their address. Novices and experts classified the portraits for evidence of horizontal and vertical pupil misalignment and rated each portrait for overall gaze ambiguity.<\/p>\n<p>We interpret the results as showing the profound importance for pupil misalignment, especially on the vertical axis, for Manet in his evocation of modern life and the \u2018double relation\u2019 of his paintings\u2019 address to spectators.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This research is part of the&nbsp;project Modes of Address in Pictorial Art, conducted by an interdisciplinary team of artists and scientists led by Professor Beth Harland (Lancaster University) with Professor Nick Donnelly and Professor Simon Liversedge (University of Southampton). The project explores aesthetic theories in visuo-cognitive psychological terms. Our&nbsp;goal&nbsp;\u2026<\/p>\n","protected":false},"author":2,"featured_media":807,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"image","meta":{"wp_typography_post_enhancements_disabled":false,"footnotes":""},"categories":[1,10],"tags":[25,46,47],"coauthors":[30],"class_list":["post-328","post","type-post","status-publish","format-image","has-post-thumbnail","hentry","category-research","category-paper","tag-fine-art","tag-art-theory","tag-experimental-psychology","post_format-post-format-image","column","twocol"],"_links":{"self":[{"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/328","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=328"}],"version-history":[{"count":12,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/328\/revisions"}],"predecessor-version":[{"id":954,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/328\/revisions\/954"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=\/wp\/v2\/media\/807"}],"wp:attachment":[{"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=328"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=328"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=328"},{"taxonomy":"author","embeddable":true,"href":"http:\/\/insight.lancaster.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcoauthors&post=328"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}