The anatomy and philosophy of expression, as connected with the fine arts (4th ed.).

Bell, Charles

doi:10.1037/13899-000

Cited by 28 publications

(30 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Darwin said of Bell that "He may with justice be said, not only to have laid the foundations of the subject as a branch of science, but to have built up a noble structure" (1872, p. 2). Darwin reproduced illustrations from Bell (1844) and Duchenne (1862), but the photographs were redrawn. Of Duchenne he wrote: "he analyses by means of electricity, and illustrates by magnificent photographs, the movements of the facial muscles" (1872, p. 5).…”

Section: In the Expression Of The Emotions In Man And Animalsmentioning

confidence: 99%

Faces and Photography in 19th-Century Visual Science

Wade

2016

Perception

View full text Add to dashboard Cite

Reading faces for identity, character and expression is as old as humanity but representing these states is relatively recent. From the 16 th century, physiognomists both classified character in terms of facial form and represented the types graphically. Darwin distinguished between physiognomy (which concerned static features reflecting character) and expression (which was dynamic and reflected emotions). Artists represented personality, pleasure and pain in their paintings and drawings but the scientific study of faces was revolutionised by photography in the 19 th century. Rather than relying on artistic abstractions of fleeting facial expressions, scientists photographed what the eye could not discriminate. Photography was applied first to stereoscopic portraiture (by Wheatstone) then to the study of facial expressions (by Duchenne) and to identity (by Galton and Bertillon). Photography opened new methods for investigating face perception, most markedly with Galton's composites derived from combining aligned photographs of many sitters. In the same decade (1870s) Kühne took the process of photography as model for the chemical action of light in the retina. These developments and their developers are described and fixed in time but the ideas they initiated have proved impossible to stop.

show abstract

Section: In the Expression Of The Emotions In Man And Animalsmentioning

confidence: 99%

Faces and Photography in 19th-Century Visual Science

Wade

2016

Perception

View full text Add to dashboard Cite

show abstract

“…Nach Abklingen der Begeisterung für die Lehre des Zürcher Pfarrers Lavater [58], die 1775 in den phantasievollen, aber auch schwärmeri schen und unkritischen «Physiognomischen Fragmenten zur Beförderung der Menschenkenntnis und Menschenliebe» ihren Niederschlag fandvorausgeschickt war 1772 «Von der Physiognomik» -wurde von Bell [3] (1774-1842; Physiologe in Edinburgh) erstmals im Jahr 1806 eine wissenschaftliche Begründung des Ausdrucksverhaltens mittels der «Re spirationstheorie» versucht, welche die Beziehungen zwischen vegetati vem Nervensystem und Gemütsbewegungen zur Grundlage hatte. Bell [3] wies ferner als erster darauf hin, dass der M. corrugator supercilii als «Kennmuskel für geistige Energie» nur beim Menschen zu finden sei.…”

Section: Bemerkungen Zur Geschichte Der Ausdruckskundeunclassified

“…Bell [3] wies ferner als erster darauf hin, dass der M. corrugator supercilii als «Kennmuskel für geistige Energie» nur beim Menschen zu finden sei. Eine systematische Ausdrucksbeschreibung kranker Menschen brachte 1842 B aumgärtner [2], Er demonstrierte anhand 80 gemalter Gesichts abbildungen krankhafte Zustände wie «Bleichsucht», «Wassersucht», «Säuferwahnsinn», «Blödsinn», «Melancholie» und ähnliches.…”

Section: Bemerkungen Zur Geschichte Der Ausdruckskundeunclassified

Mimik und Physiognomie in der Psychopathologie

Payk¹

1973

Psychopathology

View full text Add to dashboard Cite

“…Darwin distinguished between physiognomy (which concerned static features reflecting character) and expression (which was dynamic and reflected emotions). In his study of expressions he drew extensively on the previous research of Bell (1844) and Gratiolet (1865) while disagreeing with their interpretations. Both had argued for distinctions between humans and animals, whereas Darwin contended that there was continuity.…”

mentioning

confidence: 99%

Faces in Perception

Wade

2013

Perception

View full text Add to dashboard Cite

Faces in PerceptionThe experimental study of face perception has expanded enormously in the lifetime of Perception; and this theme issue looks back, via papers that have been published in its pages, at some of the 'see' changes that have occurred since its birth in 1972. It is not the intention of this theme issue to provide a review of research on face perception. Indeed, this would be impossible because face research has been published in many journals. Moreover, an excellent review of the recent literature can be found in Calder et al (2011). Rather, the development of research is reflected in the papers reprinted, which highlight the stimulus materials, methods, and theoretical concerns that have engaged researchers over about a 30-year period. The papers are selected from the 'deep archive' of Perception-that is, from the period of more than 10 years ago. Since there is a historical dimension to the selection presented, I will commence with a look even further back to some of the origins of research on faces.Faces not only fascinate us but they also provide vital clues to our social interactions. It is not surprising, therefore, that artists have tried to capture this fascination since the dawn of depiction. What is considered to be one of the earliest extant pictorial representations of the human face dates from around 27 000 years ago, and it was found in a cave near Angoulême, France (Henry-Gambier et al 2007). It consists of three lines that could represent an eye, nose, and mouth, and these are painted on a flat piece of rock that approximates the shape of a head. There are earlier examples of three-dimensional models of human bodies, but the distillation of depth onto a flat surface was a major achievement of mankind. We cannot be certain that it was intended to be a picture of a face because we can see faces in almost everything, from clouds to flames. Faces can be distinguished by their simple symmetry and orientation; arrangements of dots and lines can be recognised as faces even though the elements of the configuration are anything but face-like. Indeed, much of the early experimental work did involve highly simplified (schematic) faces (Brunswik and Reiter 1937). The same oval outline contained four simple structures-single lines for the nose and mouth, together with elliptical eyes. The separation of the eyes, the length of the nose, and the height of the mouth were varied systematically to yield 189 faces. Observers were requested to rank the faces according to characteristics such as narrow-minded, joyful, embittered, sad, and sarcastic, and there was reasonable agreement over which faces had these attributes.The scientific study of faces was revolutionised by photography in the mid-19th century. Facial expressions were photographed before aspects of face recognition were investigated. Guillaume-Benjamin Duchenne (1862) photographed an actor as well as others while either stimulating the face electrically or simulating a variety of expressions. He considered that the expressions elicited by th...

show abstract

The anatomy and philosophy of expression, as connected with the fine arts (4th ed.).

Cited by 28 publications

References 0 publications

Faces and Photography in 19th-Century Visual Science

Faces and Photography in 19th-Century Visual Science

Mimik und Physiognomie in der Psychopathologie

Faces in Perception

Contact Info

Product

Resources

About