Abstract

 This article explores ways in which modern experimental psychology can provide information about aspects of the processes involved in the creation of visual art. Many areas of research in the fields of neuroscience and cognitive neuropsychology yield information that can be used to develop techniques to benefit the production of art. Several phenomena are discussed to provide a comprehensive perspective on the psychological, behavioural and physiological processes that influence the creation of artwork. 
 
 Keywords: paradoxical facilitation, cognitive psychology, system 1, system 2, verbal overshadowing, perceptual constancy, categorical, coordinate, TMS
Highlights
Many psychologists have provided analyses of artists and their work, including choice of subject matter, states of mind, symbolic interpretation, etc
The field of experimental psychology can provide a great deal of such information, given a certain degree of extrapolation from studies that for the most part are directed towards therapeutic intervention
This article proposes to forge some links between the fields of psychology and art so as to provide insight and hopefully facilitate strategies to benefit creativity rather than interpretations for understanding; this is about the processes within the artist and not the products of the creative process
Summary
Many psychologists have provided analyses of artists and their work, including choice of subject matter, states of mind, symbolic interpretation, etc. Experimental psychology refers to research applying experimental methods to psychological study and its underlying processes. It involves the study of sensation and perception, memory, cognition, learning, motivation, emotion, developmental processes, social psychology and the neural substrates of all these. There are psychological, behavioural and physiological dynamics that motivate and drive the creation of art and a great deal of research that can yield empirical information about them. This article proposes to forge some links between the fields of psychology and art so as to provide insight and hopefully facilitate strategies to benefit creativity rather than interpretations for understanding; this is about the processes within the artist and not the products of the creative process. In view of its extremely long history in comparison with other forms of visual expression, I think it is of interest to study some of the psychological aspects and effects of working with human models
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