Abstract
This paper reports the results of neuromarketing research for artworks. It was conducted among young people, students of non-art specialties, for nine different widely known art pieces with the help of eyetracking and emotional scanning equipment.The aim of the experiment is to determine (1) whether viewers concentrate more on the representational art compared to abstracts art, (2) whether any correlation between the viewing time and the evoked emotions exists, and (3) whether there is any difference between the monitored emotions and those people articulate (in other words, to what extend artwork viewers tell the truth).The result demonstrates a slightly higher preference in looking at the representational paintings. But we do not notice any correlation between the subjective liking of the painting and the time spent looking at it. An essential difference is recorded for the emotions fixed technically and those reported by the viewers.The paper also suggests several implications for gallery marketing. JEL сlassification: M31, Z11
Highlights
Introduction and research problemThe art market of every country is the hallmark of its professional cultural development
We use the collection of 9 paintings of different styles to explore viewers’ gazing patterns, fixed and expressed emotions to confirm the following hypotheses: (1) viewers are more concentrated on the representational art, (2) viewers look longer at the works that impress them more, (3) and they can clearly articulate what emotions the artworks evoke in viewers
The current research contributed to the prior works of Uusitalo et al (2012) and Heidenreich and Turano (2003), comparing different gazing patterns for representational and abstract artworks
Summary
Introduction and research problemThe art market of every country is the hallmark of its professional cultural development. We use the collection of 9 paintings of different styles to explore viewers’ gazing patterns, fixed and expressed emotions to confirm the following hypotheses: (1) viewers are more concentrated on the representational art, (2) viewers look longer at the works that impress them more, (3) and they can clearly articulate what emotions the artworks evoke in viewers. The distribution of emotions for every painting is worth attention.2 People reported high levels of fear and disgust for Archimboldo’s and Goya’s masterpieces, while the equipment hardly traced them at all.
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