We would possibly appre­ci­ate liv­ing in an generation that does­n’t require us to trav­el internationally to grasp what a par­tic­u­lar murals seems like. On the identical time, we would possibly instinc­tive­ly underneath­stand that regard­ing a murals in its orig­i­nal shape feels dif­fer­ent than regard­ing even probably the most religion­ful repro­duc­tion. That incorporates the ten-bil­lion-pix­el scan, pre­vi­ous­ly fea­tured right here on Open Cul­ture, of Johannes Ver­meer’s Lady with a Pearl Ear­ring — which hap­pens to be the exact same paint­ing utilized in a recent sci­en­tif­ic study that inves­ti­gates precise­ly why it feels so a lot more inter­est­ing to take a look at artwork in a muse­um somewhat than on a display screen or a web page.

The learn about used to be com­mis­sioned by way of the Mau­rit­shuis, which owns Ver­meer’s most renowned paint­ing. “Researchers used elec­troen­cephalo­grams (EEGs) to show that actual artwork­works, includ­ing Lady with a Pearl Ear­ring, elic­it a pow­er­ful pos­i­tive reaction a lot more than the reaction to repro­duc­tions,” says the muse­um’s press release.

“The name of the game in the back of the attrac­tion of the ‘Lady’ could also be in accordance with a novel neu­ro­log­i­cal phe­nom­e­non. Not like oth­er paint­ings, she guy­ages to ‘cap­ti­vate’ the view­er, in a ‘sus­tained atten­tion­al loop.’ ” This procedure maximum transparent­ly stim­u­lates part of the mind known as the pre­cuneus, which is “fascinated by one’s sense of self, self-reflec­tion and episod­ic mem­o­ries.”

Lady with a Pearl Ear­ring used to be­n’t the one paint­ing used within the learn about, but it surely professional­duced by way of a long way the nice­est mea­sur­ready dif­fer­ence within the view­ers’ neu­ro­log­i­cal reac­tion. The oth­ers, which includ­ed Rem­brandt’s Self-Por­trait (1669) and Van Hon­thorst’s Vio­lin Play­er, lack the dis­tinc­tive­ly promi­nent human fea­tures that encour­age addi­tion­al glance­ing: “As with maximum faces, vis­i­tors glance first on the Lady’s eyes and mouth, however then their atten­tion shifts to the pearl, which then guides the point of interest again to the eyes and mouth, then to the pearl, and so forth.” Muse­um­move­ers put on­ing elec­troen­cephalo­gram-read­ing head­units will not be reasonably what Wal­ter Ben­jamin had in thoughts when he put his thoughts to defin­ing the “air of secrecy” of an orig­i­nal artwork­paintings — however they have got, those 90 or so years lat­er, lent some sci­en­tif­ic sup­port to the speculation.

via MyMod­ern­Met

Relat­ed con­tent:

Why is Vermeer’s Lady with a Pearl Ear­ring Con­sid­ered a Mas­ter­piece?: An Ani­mat­ed Intro­duc­tion

A ten Bil­lion Pix­el Scan of Vermeer’s Mas­ter­piece Lady with a Pearl Ear­ring: Discover It On-line

See the Com­plete Works of Ver­meer in Aug­ment­ed Actual­i­ty: Google Makes Them Avail­ready on Your Sensible­telephone

Inge­nious Impro­vised Recre­ations of Vermeer’s Lady with a Pearl Ear­ring, The use of Mate­ri­als Discovered Across the Area

A Guid­ed Excursion Via All of Vermeer’s Well-known Paint­ings, Nar­rat­ed by way of Stephen Fry

Artists Might Have Dif­fer­ent Brains (Extra Gray Mat­ter) Than the Remainder of Us, Accord­ing to a Fresh Sci­en­tif­ic Learn about

Based totally in Seoul, Col­in Marshall writes and huge­casts on towns, lan­guage, and cul­ture. His initiatives come with the Sub­stack newslet­ter Books on Cities and the ebook The State­much less Town: a Stroll via Twenty first-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.





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