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Download Thesis This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ What makes a painting sad? Brassey, Vanessa Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 09. Oct. 2021 What makes a painting sad? Vanessa Brassey A Thesis submitted for the degree of Doctor of Philosophy May 2020 This thesis includes work from two papers published in peer review journals: BRASSEY, V. 2019. The Implied Painter. Debates in Aesthetics, Volume 14(1) 15-29. BRASSEY, V. 2020. Still Moving. Debates in Aesthetics, Volume 15,1, 35-50. 1 This is not a love story. It is a whodunnit. In seven chapters 2 Table of Contents LIST OF ILLUSTRATIONS .................................................................................................................. 6 ABSTRACT ...................................................................................................................................... 8 ACKNOWLEDGEMENTS .................................................................................................................. 9 INTRODUCTION ........................................................................................................................... 11 THE PROJECT ........................................................................................................................................... 11 METHODOLOGICAL PRELIMINARIES ............................................................................................................. 13 1 THE ‘AIR’ OF FACES ................................................................................................................ 18 1.1 EMOTIONS AND EXPRESSIONS ....................................................................................................... 20 1.1.1 How can expressions be constituent parts of emotions? ........................................................... 21 1.1.2 Expressions as parts of the whole. ............................................................................................. 24 1.2 SEEING EMOTIONS ...................................................................................................................... 27 1.2.1 Seeing common sense ................................................................................................................ 28 1.2.2 What a perspective is, and what a perspective is on. ................................................................. 35 1.2.3 Seeing a part and having an experience of a whole ................................................................... 36 1.2.4 Paradigm and aesthetic cases ..................................................................................................... 42 2 PAINTING ............................................................................................................................... 45 2.1 WHAT MAKES A PAINTING? .......................................................................................................... 45 2.1.1 Necessary conditions .................................................................................................................. 46 2.2 WHAT MAKES A PAINTING SAD? ..................................................................................................... 48 2.2.1 The concept of pictorial expression ............................................................................................ 49 2.2.2 Who has analysed pictorial expression? ..................................................................................... 50 2.2.3 The persona theory of expression .............................................................................................. 52 2.3 AN INTUITIVE SOLUTION ............................................................................................................... 53 3 THE ‘AIR’ OF PAINTINGS ......................................................................................................... 61 3 3.1 IMPERSONALIST CONTOUR THEORIES ............................................................................................... 62 3.2 EXPRESSIVENESS AS EXPERIENCED RESEMBLANCE ............................................................................... 62 3.2.1 Evaluation of ‘experienced resemblance’ ................................................................................... 64 3.3 EXPRESSIVE LOOKS THAT INDICATE EMOTIONS ................................................................................... 67 3.4 Evaluation of ‘looks that function to indicate’ ............................................................................... 78 3.5 EXPRESSIVENESS AS SENSORY RESEMBLANCE ..................................................................................... 85 3.6 Evaluation of ‘sensory resemblance’ ............................................................................................. 97 4 THE ‘HEIR’ OF PAINTINGS ...................................................................................................... 108 4.1 EXPRESSIVENESS AS VISUAL METAPHOR .......................................................................................... 112 4.1.1 Evaluation of visual metaphor .................................................................................................. 114 4.2 EXPRESSIVENESS AS PERCEPTUAL METAPHOR .................................................................................. 116 4.2.1 Evaluation of the Perceptual Metaphor model ........................................................................ 122 4.3 METAPHORISING ....................................................................................................................... 127 4.3.1 Evaluation of Metaphorising .................................................................................................... 130 4.4 A BETTER THEORISATION OF PERSPECTIVES ...................................................................................... 133 5 THE ‘INHERITED’ PERSPECTIVE .............................................................................................. 141 5.1 ROBINSON’S IMPLIED PAINTER ...................................................................................................... 145 5.1.1 The challenge from Lopes ......................................................................................................... 148 5.1.2 An error ..................................................................................................................................... 148 5.1.3 Moving from (Pa) to (Pb) .......................................................................................................... 152 5.2 ROBINSON’S EMPATHIC VIEWER .................................................................................................... 155 5.2.1 What is ‘empathetic perspective-taking’? ................................................................................ 155 5.2.2. Criticisms ................................................................................................................................. 159 6 A NEW PERSPECTIVE ON EMOTIONS .................................................................................... 169 6.1 THE ACTUAL AND NON-ACTUAL PERSPECTIVE .................................................................................... 172 6.1.1. Actual perspectives .................................................................................................................. 172 6.1.2 Non-actual perspectives ........................................................................................................... 173 6.2 THE PERSPECTIVE YOU REPRESENT ................................................................................................. 176 6.3 THE PERSPECTIVE YOU REPRESENT ON THE PAINTING .......................................................................... 178 4 6.4 SEEING, VISUALISING AND REPRESENTING PERSPECTIVES ..................................................................... 180 6.4.1 Visualising ................................................................................................................................. 182 6.4.2 What makes a painting sad ....................................................................................................... 185 6.4.3 The epistemic role of mediating perspectives .........................................................................
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