The Visual Aesthetic Sensitivity Test Applied to Portuguese Children and Fine Arts Students

Fróis, João Pedro; Eysenck, H. J.

doi:10.1207/s15326934crj0803_6

Cited by 33 publications

(31 citation statements)

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“…The only exception is the VAST, which yielded low reliability (α =.57) consistent with published studies (Bezruczko & Schroeder, 1991;Fróis & Eysenck, 1995). Measurement properties including psychometric reliability are comparable between American and Portuguese children across all dimensions and, with exception of the VAST, certainly adequate for international comparisons and developmental research.…”

Section: Research Questionssupporting

confidence: 81%

Comparison of Several Artistic Judgment Aptitude Dimensions Between Children in Chicago and Lisbon

Bezruczko¹,

Fróis²

2011

Visual Arts Research

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This research examines measurability, statistical interrelationships and association with test IQ, and cultural robustness of several artistic judgment dimensions. Symmetry, Simplicity, Uniformity, and Expressiveness dimensions had been previously validated in a comprehensive study of professional artists and studied in Chicago with children of diverse cultural background. The fifth dimension, the Visual Aesthetic Sensitivity Test (VAST), rests on much weaker validity foundations but was included in this research because of wide use among empirical arts researchers. Cross-cultural comparison of these dimensions has never been reported. The study sample is a culturally homogeneous group of native Lisbon schoolchildren (modal age = 10 years, N = 48). Results showed adequate psychometric reliability for all dimensions (>.80) except VAST (.57). Means were statistically indistinguishable between Portuguese and American children on Simplicity and Uniformity, which support their aptitude foundations. Portuguese children showed significantly higher preference for asymmetry (Symmetry dimension), which indicates consistency with professional artists. However, Portuguese children showed much lower preference for Expressiveness than did Chicago children, which is the opposite direction of artistic expectations. With exception of VAST, these dimensions show considerable promise for cross-cultural and developmental research.

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Section: Research Questionssupporting

confidence: 81%

Comparison of Several Artistic Judgment Aptitude Dimensions Between Children in Chicago and Lisbon

Bezruczko¹,

Fróis²

2011

Visual Arts Research

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“…The painters who exhibited the self-sufficiency component, which has been argued to be an indicator of the positive personality trait of "non-aggression", might also exhibit an underlying tendency for producing self-similar images (Reidy et al, 2008). The results confirmed that the evidence that suggests that narcissistic personalities affect people's behaviors and visual aesthetic attitudes (Frois & Eysenck, 1995;Furnham & Chamorro-Premuzic, 2004;Gӧtz et al, 1979;Myszkowski et al, 2014). It would be interesting to clarify why the painters who exhibited the self-sufficiency component in this study also exhibited the self-image phenomenon in their Venus paintings.…”

Section: Self-image Of the Narcissistic Personalitysupporting

confidence: 73%

The Relationship between Sketch and Personality: The Narcissistic Personality Inventory Research

Wang¹

2015

ADR

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This study investigated 73 designed beginners who drew the Venus plaster and completed the 7dimensional Narcissistic Personality Inventory (NPI) test. Next, 5-point scales were used to compare the degrees of the facial similarity between the paintings and photos of the beginners who created the paintings. The results indicated that over half of the paintings were similar to the photos of the painters, and the similarity was significantly correlated with narcissism. For example, the painters with self-sufficient personalities were more likely to exhibit assertiveness, independence, self-confidence, and need for achievement; thus, they were automatically drawn to their own sense of personal feelings as projected onto the drawings, which naturally tended to look like themselves. These results might help the educators in the design field identify the likely NPI-associated psychological and behavioral outcomes of design beginners by observing the contexts of their paintings.

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“…Kohlberg (19871, for example, described a universal ethic as a part of moral development. Even more directly relevant is Frois and Eysenck's (1995) theory of a universal aesthetic (p. 4). which they supported with data from the V i Aesthetic Test, judgments from which were independent of culture and even artistic training.…”

Section: Discretionmentioning

confidence: 99%

Personal creativity: Definition and developmental issues

Runco

1996

New Directions for Child and Adolescent Development

202

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Creative behavior often seems to be childlike. Indeed, there is a famous statement from picasso in which he claims to have become a good painter only after he learned to see like a child, and Gardner (1994) recently suggested that eminent creators are childlike in their behavior and thinking. Barron (1995) described how "innocence to experience runs the human course. And, with luck, back to innocence again. To see things as thoughfor thefirst time is a murk of the artist. Organized innocence. Innocence-in-experience. Something saved from the shock of g m w g up. Something given back in the artist's work."Innocence is indicative of youth or perhaps naivete, and in fact Abra (1989) tied creativity specifically to naivete. Henri Matisse reportedly claimed that "you study, you learn, but you guard the original naivete" (quoted in Charlton, 1994, p. 34). Does all this mean that creativity is a result of a kind of atypical development in which aspects of immaturity are retained? One thesis in the present article is that creativity is not entirely childlike, and in tact for the most part creative thinking is only childlike in a metaphorical wayThe primary objective of this chapter is to present a definition of creativity that recognizes both developmental continuities and discontinuities. This definition is predicated on the idea that creativity requirrs a special combination of skills; some of these reflect maturity and experience and some reflect behaviors that are found in early childhood. The combination of maturity and immaturity-and continuity and discontinuity-is possible because creativity is multifaceted it is a complac or syndrome and relies on a variety of traits, skills, I would like to express my gratitude to Stephanie Dudek. Howard Gruber, Lloyd Noppe, and Laurisa Shavinina for comments on an early draft of this article.

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The Visual Aesthetic Sensitivity Test Applied to Portuguese Children and Fine Arts Students

Cited by 33 publications

References 0 publications

Comparison of Several Artistic Judgment Aptitude Dimensions Between Children in Chicago and Lisbon

Comparison of Several Artistic Judgment Aptitude Dimensions Between Children in Chicago and Lisbon

The Relationship between Sketch and Personality: The Narcissistic Personality Inventory Research

Personal creativity: Definition and developmental issues

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