Access the full text.
Sign up today, get DeepDyve free for 14 days.
(2021)
Emmeans: Estimated Marginal Means, aka least-squares means
Emanuela Liaci, Andreas Fischer, M. Heinrichs, L. Elst, J. Kornmeier (2017)
Mona Lisa is always happy – and only sometimes sadScientific Reports, 7
G. Box, G. Tiao (1992)
Bayesian Inference in Statistical Analysis: Box/Bayesian
P. Bürkner (2017)
brms: An R Package for Bayesian Multilevel Models Using StanJournal of Statistical Software, 080
Claudia Muth, C. Carbon (2016)
SeIns : Semantic Instability in Art, 4
A. Soranzo, T. Agostini (2006)
Does Perceptual Belongingness Affect Lightness Constancy?Perception, 35
J. Kruschke, Torrin Liddell (2017)
Bayesian data analysis for newcomersPsychonomic Bulletin & Review, 25
A. Soranzo, M. Newberry (2016)
Investigating the 'Uncatchable Smile' in Leonardo da Vinci's La Bella Principessa: A Comparison with the Mona Lisa and Pollaiuolo's Portrait of a Girl.Journal of visualized experiments : JoVE, 116
V. Goffaux, B. Rossion (2006)
Faces are "spatial"--holistic face perception is supported by low spatial frequencies.Journal of experimental psychology. Human perception and performance, 32 4
Z. Dienes (2014)
Using Bayes to get the most out of non-significant resultsFrontiers in Psychology, 5
(2005)
Mona Lisa ’ s smile : The place of experimental phenomenology within Gestalt Theory
B. McShane, David Gal, A. Gelman, C. Robert, J. Tackett (2017)
Abandon Statistical SignificanceThe American Statistician, 73
Sumio Watanabe (2010)
Asymptotic Equivalence of Bayes Cross Validation and Widely Applicable Information Criterion in Singular Learning TheoryArXiv, abs/1004.2316
J. Kruschke (2013)
Bayesian estimation supersedes the t test.Journal of experimental psychology. General, 142 2
S. Palmer, J. Brooks, Rolf Nelson (2003)
When does grouping happen?Acta psychologica, 114 3
E. Wagenmakers (2007)
A practical solution to the pervasive problems ofp valuesPsychonomic Bulletin & Review, 14
S. Maxwell, Ken Kelley, Joseph Rausch (2008)
Sample size planning for statistical power and accuracy in parameter estimation.Annual review of psychology, 59
M. Kemp (1977)
Leonardo and the Visual PyramidJournal of the Warburg and Courtauld Institutes, 40
P. Ball (2010)
Behind the Mona Lisa's smileNature, 466
P. Mamassian (2008)
Ambiguities and conventions in the perception of visual artVision Research, 48
Bob Carpenter, A. Gelman, M. Hoffman, Daniel Lee, Ben Goodrich, M. Betancourt, Marcus Brubaker, Jiqiang Guo, Peter Li, A. Riddell (2017)
Stan: A Probabilistic Programming Language.Journal of statistical software, 76
L. Hespanhol, Caio Vallio, L. Costa, B. Saragiotto (2019)
Understanding and interpreting confidence and credible intervals around effect estimates.Brazilian journal of physical therapy
(2010)
Principle [Preprint]. PsyArXiv
A. Nagel (1993)
Leonardo and sfumatoRES: Anthropology and Aesthetics, 24
A. Kolmogorov, Nathan Morrison, A. Bharucha-Reid
Theory of ProbabilityNature, 124
E. Njoku (2020)
Empirical ResearchDeath in Custody
Chong-Hee Ko (2010)
Le Vite de più eccellenti pittori scultori et architetti di Giorgio Vasari e il Manierismo
(2019)
Arte e psicologia della visione in Leonardo da Vinci con lo sguardo di Alberto Argenton e della scuola di psicologia della gestalt dell
(1954)
Il gradiente marginale come fattore dell'aspetto fenomenico dei colori. Archivio di Psicologia
S. Asch (1956)
Studies of independence and conformity: I. A minority of one against a unanimous majority., 70
A. Gelman, D. Rubin (1992)
Inference from Iterative Simulation Using Multiple SequencesStatistical Science, 7
J. Sergent (1994)
Brain-imaging studies of cognitive functionsTrends in Neurosciences, 17
P. Bürkner (2017)
Advanced Bayesian Multilevel Modeling with the R Package brmsR J., 10
E. Wagenmakers, Q. Gronau, J. Vandekerckhove (2019)
Five Bayesian Intuitions for the Stopping Rule Principle
“ Il pittore deve studiare con regola ”
J. Kruschke (2010)
Bayesian data analysis.Wiley interdisciplinary reviews. Cognitive science, 1 5
L. Kontsevich, C. Tyler (2004)
What makes Mona Lisa smile?Vision Research, 44
M. Elias, P. Cotte (2008)
Multispectral camera and radiative transfer equation used to depict Leonardo's sfumato in Mona Lisa.Applied optics, 47 12
Planete publics (2007)
À la renaissance
A. Soranzo, T. Agostini (2006)
Photometric, geometric, and perceptual factors in illumination-independent lightness constancyPerception & Psychophysics, 68
G. Shulman, James Wilson (1987)
Spatial Frequency and Selective Attention to Local and Global InformationPerception, 16
A. Gilchrist (2020)
The Integrity of VisionPerception, 49
R. Valois, K. Valois (1980)
Spatial vision.Annual review of psychology, 31
Torrin Liddell, J. Kruschke (2017)
Analyzing Ordinal Data with Metric Models: What Could Possibly Go Wrong?Banking & Insurance eJournal
Ludwig. Kardos (1934)
Ding und Schatten : eine experimentelle untersuchung über die Grundlagen des Farbensehens
(2018)
Leonardo da Vinci: A reference guide to his life and works
1632/1817). Trattato della pittura
Aki Vehtari, A. Gelman, Jonah Gabry (2015)
Practical Bayesian model evaluation using leave-one-out cross-validation and WAICStatistics and Computing, 27
Chris Beedie, P. Terry, A. Lane (2005)
Distinctions between emotion and moodCognition and Emotion, 19
S. Linden, Breanne Chryst (2017)
No Need for Bayes Factors: A Fully Bayesian Evidence SynthesisFrontiers Appl. Math. Stat., 3
G. Kanizsa, P. Legrenzi, P. Bozzi (1979)
Organization in Vision: Essays on Gestalt Perception
H. Akaike (1973)
Information Theory and an Extension of the Maximum Likelihood Principle, 1
Ming-Hui Chen, Q. Shao, J. Ibrahim (2000)
Computing Bayesian Credible and HPD Intervals
A. Soranzo, M. Newberry (2015)
The uncatchable smile in Leonardo da Vinci’s La Bella Principessa portraitVision Research, 113
M. Wertheimer
Untersuchungen zur Lehre von der Gestalt. IIPsychologische Forschung, 4
D. Katz
Die Erscheinungsweisen der Farben und ihre Beeinflussung durch die individuelle Erfahrung
C. Judd, Jacob Westfall, D. Kenny (2012)
Treating stimuli as a random factor in social psychology: a new and comprehensive solution to a pervasive but largely ignored problem.Journal of personality and social psychology, 103 1
J. Kruschke (2014)
Doing Bayesian Data Analysis: A Tutorial with R, JAGS, and Stan
M. Livingstone, D. Hubel (2002)
Vision and Art: The Biology of Seeing
P. Bürkner, Matti Vuorre (2019)
Ordinal Regression Models in Psychology: A TutorialAdvances in Methods and Practices in Psychological Science, 2
M. Wertheimer (1939)
A source book of Gestalt psychology.Journal of Nervous and Mental Disease
Y. Yeshurun, M. Carrasco, L. Maloney (2008)
Bias and sensitivity in two-interval forced choice procedures: Tests of the difference modelVision Research, 48
James Carroll, James Russell (1996)
Do facial expressions signal specific emotions? Judging emotion from the face in context.Journal of personality and social psychology, 70 2
M. Livingstone (2000)
Is It Warm? Is It Real? Or Just Low Spatial Frequency?Science, 290
AbstractThe Mona Lisa (1503–6) is probably the most celebrated example of ambiguous expression in art. Soranzo and Newberry (2015) demonstrated that a similar ambiguity can be perceived also in La Bella Principessa (1495–6), another portrait credited to Leonardo da Vinci (1452–1519) by many. The paper aims to show that an ambiguous expression can be perceived in a further painting attributed (although not unanimously) to Leonardo: The Lady with Dishevelled Hair, or La Scapigliata. An experiment was conducted whereby participants rated on a 7-point Likert scale the perceived level of contentment of La Scapigliata and that of a comparable painting created by Andrea di Cione, alias Il Verrocchio. The two artworks were presented in random order to two groups of participants. One group could see the artworks from Close (0.6m) whilst the other group from Far (6m) from a Close (0.6 m) or Far (6 m) condition. Results show that the change of distance affected the perceived level of contentment of Leonardo’s figure but not that of Verrocchio’s. Specifically, whilst both artworks received similar ratings of contentment from the close-up condition, La Scapigliata was perceived to be more content from afar. It is concluded that La Scapigliata exhibits an ambiguous expression, and that this ambiguity is similar to the one observed in the Mona Lisa and La Bella Principessa. This result can be only partially interpreted within the spatial frequency hypothesis advanced by Livingstone (2000) and shows that a phenomenological account of Leonardo’s work might be more suited to capture the full extent of the phenomenon. Specifically, it is suggested that the principles of perceptual belongingness (Wertheimer, 1923) may need to be considered to fully capture the extent of the ambiguity depicted by Leonardo.
Gestalt Theory – de Gruyter
Published: Aug 1, 2022
Keywords: Leonardo; Perceptual Belongingness Principles; Ambiguous Expressions; Aesthetics
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.