UDC 811.161
DOI: 10.36871/hon.202304117
Authors
Igor A. Peremislov,
Argosy University — School of Business and Management, Phoenix, Arizona, 2233, United States of America
Abstract
The author relies on psychological and philosophical concepts underlying the understanding and interpretation of fine art. This article is dedicated to a multifaceted analysis based on the psychological studies of the visual arts developed by renowned authorities such as Dui Tran Hoang Le, Paul Schrader, Julie C. Garlen, and Jennifer A. Sandlin. Based on these concepts, any work of fine art, be it a painting, a cartoon, or a stylized drawing, is considered a magic mirror that allows the viewer to look at the object from two different positions — internal and external, while also looking into themself. According to these psychological theories, a work of fine art is, in many ways, like such a mirror — a window into the inner world. Animation is the sharpest window, giving the most prominent and clear image, and the author gives insight into the historical background of such a unique and brilliant visual art form that has combined art with cinema for many generations. There is also emphasis placed on animation artists and aspiring animation-style artists whose practices are well-aligned with this skill that allows an art piece to enable deep reflection that allows an individual to look inward and then outward, and vice versa. These practitioners also utilize such a skill to convey the emotional background inherent in an art subject, which largely determines the perception of the creation by the viewer.
Keywords
unseen reality, symbolism in art, Matthew Bates, emotional background in illustration, fine art window, mental science of art
