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Caravaggio's Eye. by. Clovis Whitfield. A new study of Caravaggio's art, richly illustrated with superb and unfamiliar details. It is not always obvious what the.
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- [PDF] Driven by Caravaggio Through His Painting, an Eye-Tracking Study | Semantic Scholar
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Researchers at Scienza Nuova in Italy used eye tracking to test the hypothesis that Caravaggio understood how we perceive images and that he, while creating his art, took into account how the environment would affect the viewer's visual experience. The study revealed that, by moving the art from its original environment, the intended viewer experience decreases.
These results can help improve how art is displayed in museums and guide visitors how to view the elements of a painting for the best experience. The wearable eye tracker, Tobii Pro Glasses 2, was used for the data collection in this study to facilitate a natural viewing experience for the participants.
This is the first time eye tracking research has been conducted on art in its natural environment. The Pro Glasses Analyzer software allowed the team to easily overlap the visual scan path with the corresponding stimulus. The experiment consisted of two parts, where attention data was collected from participants looking at Caravaggio's paintings in two different locations. The initial study took place over three days at the church of Pio Monte della Misericordia in Naples.
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Caravaggio's painting, Sette Opere di Misericordia, is preserved in its original condition there. The second phase of the research took place at the Capodimonte Museum in Naples. This is where another Caravaggio's painting, La Flagellazione di Cristo, is on exhibit. The researchers randomly selected participants from the visitors to the church and museum. After individual calibration, they were allowed to naturally walk through the locations while wearing Pro Glasses 2 for three minutes.
The following eye tracking metrics were used for the analysis: number of gazes, number of fixations, time to first gaze, time to first fixation, areas of interest, and visit count. In the first phase, the visual pathway of the subjects was defined. To browse Academia. Skip to main content. You're using an out-of-date version of Internet Explorer.
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Log In Sign Up. Federica Protti. Roberto Montanari. Indeed, in the seventeenth century, science was reader through a visual pathway. According to our investigating vision with particular attention. It is the first time that art experimental validation of the hypothesis that the pictorial perception is investigated in an ecological environment.
Opere di Misericordia Fig. Cognitive psychology explains the same Museum of Capodimonte. Instead, among the The experience of artistic fruition is so complex that the subjects in the second group it was not possible to find any cognitive disciplines have begun to investigate it with recurring pattern of fruition. As art critics say, the viewer does not have The article is structured as follows: in Section II, we the simple mechanical role of recording visual stimulation enumerate the studies related to artistic fruition performed to provided by the work of art, but the fundamental task of date.
In Section III, we highlight the experimental hypothesis giving meaning to it [3]. For semiotics, the reader has in fact and in Section IV, we describe the experiment we carried a cooperative role in the interpretation of any text, be it a out. The methodology used in compiling the data for the two painting, a story, etc. Some artists are clearly samples of subjects is explained in Section V, and the representative of this cooperation because they attempted to procedures in Section VI.
In Section VII, we compare the build spatial organization in their paintings, which are data collected and carry out a first analysis that leads us to structures for both contemplation and interpretation, and are the preliminary conclusion Section VIII.
[PDF] Driven by Caravaggio Through His Painting, an Eye-Tracking Study | Semantic Scholar
It says that he, several recent studies. The project started by the research at the end of the sixteenth century, probably skillfully group led by David Massaro of the Catholic University of manipulated an early but deep understanding of the field of Milan [7], like the study conducted by Rodrigo Quian optical sciences and visual perception to construct his Quiroga and Carlos Pedreira respectively belonging to the paintings, thus guiding fruition through a specific path [5][6].
University of Leicester and University of Magdeburg [8] , Research on the Galilean lenses, studies of Della Porta and studied the perception of paintings using a digital version. Kepler on perception, feed the cultural patchwork around the Both studies investigated, through fixed eye-tracking painter [5].
An example of a study of artistic fruition inside a The painting looks crowded and very difficult to museum itself, using the original painting, is that conducted understand, however, it was painted in the century that gave at the Museum of Arts of Indianapolis in regarding the rise to the Baroque style, characterized by multiple contemplation of Hotel Lobby by Edward Hopper. In this perspectives, both eccentric and oblique [11]. For these reasons the experiment cannot be considered ecological. Another important experience is the one organized in during the exhibition Telling Time at the National Gallery in London [9] in which museum visitors were invited to sit in a cubicle equipped with a fixed eye-tracker device inside and to watch some paintings on a screen.
The installation was aimed at enhancing the content of the museum with the use of new technologies. Moreover, they use paintings in a non-original context and often in a digital copy: these reasons have led us to initiate a series of new experiments on artistic fruition in ecological environments. What are the elements that influence this visual pathway? In the following, Figure 1. The painting Sette Opere di Misericordia by Caravaggio. Two groups volunteered in the experiment.