Familiarity and Novelty in Aesthetic Preference: The Effects of the Properties of the Artwork and the Beholder

Abstract

Familiarity and novelty are fundamental yet competing factors influencing aesthetic preference. However, whether people prefer familiar paintings or novel paintings has not been clear. Using both behavioral and eye-tracking measures, the present study aimed to investigate whether the effect of familiarity-novelty on aesthetic preference is independent or dependent on artwork properties (painting content, visual complexity) and viewer characteristics (experience in art). Participants were presented with two images of paintings, one of which was repeatedly presented but was always paired with a new painting in a randomized lateral arrangement. They were asked to indicate which of the two images they preferred with the degree of their preference. Behavioral results demonstrated an interactive influence of painting content and complexity on familiarity-novelty preference, especially alongside the distinction between representational and abstract paintings. Also, the familiarity-novelty preference was modulated by the degree of art experience, for abstract paintings in particular. Gaze results showed the differential effects of painting content, complexity, and art experience echoing the behavioral results. Taken together, the convergent results derived from behavioral and eye-tracking measures imply that novelty is an important feature of aesthetic appreciation, but its influence is modulated by properties of both the artwork and the beholder.

A Picture Is Worth a Thousand Words: Emotion Recognition and Qualitative Impressions of Armand Henrion’s Self-Portraits Displaying Mixed Emotions

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“…Importantly, it seems plausible that potential well-being effects of restorative environments would be stronger if people spend more time in them; thus, we tested whether longer times with the multimodal arts would increase this effect. Based on evidence that people look longer at stimuli they like, prefer, or find beautiful (Glaholt & Reingold, 2009;Goller et al, 2019;Holmes & Zanker, 2012;Leder et al, 2010Leder et al, , 2016, and that this effect also holds for visual artworks (Plumhoff & Schirillo, 2009;Song et al, 2021) cross-culturally (Mikuni et al, 2022), we assume that multimodal art experiences would lead to longer viewing times and reduce (mental) fatigue.…”

Aesthetic Perception of Stage Setups in Dance

“…Nevertheless, there is still great diversity in the average observers' aesthetic appreciation of (dance) stimuli. Some observers prefer more surprising and chaotic stimuli than others, and some prefer a harmonious balance of known and unknown stimuli (Berlyne, 1974;Song et al, 2021). However, research indicates that observers' expertise in dance is essential in perceiving dance performances' aesthetics (Calvo-Merino et al, 2010;Glass, 2005;Kirsch et al, 2013;Vinken & Heinen, 2022).…”