Running head: SPECTATORSHIP OF PORTRAITS The Spectatorship of Portraits by Naïve Beholders Tobiasz Trawinski1, Natalie Mestry2, Beth Harland3, Simon P. Liversedge4, Hayward J. Godwin1 & Nick Donnelly5 1Department of Psychology, University of Southampton, United Kingdom 2Department of Psychology, Bournemouth University, United Kingdom 3Lancaster Institute for the Contemporary Arts, Lancaster University, United Kingdom 4 School of Psychology, University of Central Lancashire, United Kingdom 5 Department of Psychology, Liverpool Hope University, United Kingdom Contact details: Tobiasz Trawinski School of Psychology University of Southampton Southampton SO17 1BJ UK
[email protected] SPECTATORSHIP OF PORTRAITS 2 Abstract The spectatorship of portraits by naïve viewers (beholders) was explored in a single experiment. Twenty-five participants rated their liking for 142 portraits painted by Courbet (36 paintings), Fantin-Latour (36 paintings) and Manet (70 paintings) on a 4-point Likert scale. The portraits were classified in terms of focussed versus ambiguous nature of sitter gaze and the presence of salient features in the context beyond sitters. Participants rated portraits while having their eye movements recorded. The portraits were split into regions of interest (ROIs) defined by faces, bodies and context. Participants also completed individual difference measures of attention and task focus. Results showed naïve spectatorship to be subject to attentional capture by faces. Paradoxically, the presence of salient features in the context amplified the attentional capture by faces through increasing participants liking of portraits. Attentional capture by faces was also influenced by sitter gaze and task focus. Unsurprisingly, the spectatorship of portraits by naïve beholders is dominated by faces, but the extent of this dominance is influenced by exogenous and endogenous attentional factors.