An independent contribution of colour to the aesthetic preference for paintings

• Published in: Vision research (Oxford) Vol. 177; pp. 109 - 117
• Main Authors: Albers, Anke Marit, Gegenfurtner, Karl R., Nascimento, Sérgio M.C.
• Format: Journal Article
• Language: English
• Published: England Elsevier Ltd 01.12.2020
• Subjects: Abstract art; Aesthetic preference; Colour; Psychophysics; Aesthetic preference; Abstract art; Psychophysics; Colour
• ISSN: 0042-6989; 1878-5646
• DOI: 10.1016/j.visres.2020.08.005

•Color can be an important contributor to our appreciation of art.•Naïve observers prefer original paintings over colour-manipulated versions.•Observers also prefer original colours in spatially scrambled images of our paintings.•In abstract works color preference is not anchored to spatial configurations. Walking around an art museum we can see how colours influence our aesthetic preferences: many great works of art would not be as impressive in grey scales. Is the beauty of colours in abstract paintings anchored to the spatial composition of the paintings, or can it be preserved even with random spatial arrangements? To test whether colour can have an independent contribution to aesthetic appreciation, we asked participants to select the preferred image among pairs of colour-manipulated versions of the same painting. We changed hue, but preserved lightness and saturation, by rotating the colour volume around the L* axis in CIELAB space. To test the influence of the spatial structure, the images of the paintings were presented: (1) in their original format, (2) spatially scrambled but preserving the colour composition, and (3) in a control condition with both colour and spatial scrambling. Relative preference as a function of hue angle was obtained for the four paintings in their original and modified forms. For the original paintings, we found that participants generally preferred the colour angles that matched the original version of the paintings. Crucially, participants preferred the same colour distributions for spatially scrambled paintings as for the original paintings. For the control condition, there were no preferred colour configurations. This suggests that the aesthetic preference of colours in our abstract paintings is not anchored to particular spatial compositions, but is at least partly preserved even when the spatial composition is destroyed. Paintings thus can contain an aesthetic component that is exclusively related to colour.