Paintings and Sculptures: Where Do We Look First?: An Eye Tracking in Situ Study, of Children and Adults

Preface
Acknowledgements
About This Book
Contents
1 Prior Studies of Eye Movement Exploration of Artwork. Magali Seille
	1.1 Guy Thomas Buswell
	1.2 Alfred L. Yarbus
		1.2.1 Synthesis of Buswell and Yarbus’ Contribution
	1.3 The 90s and 2000s: The Gaze is Guided by the Spectator’s Knowledge
	1.4 Contemporary Studies
	1.5 Synthesis of Eye Tracking Studies on Paintings and Fields of Study to Explore
	References
2 This Study—Methods. Magali Seille
	2.1 Research Directions
		2.1.1 Study the Influence of Expertise and Museum Practices
		2.1.2 Study the First Saccade
		2.1.3 The Study of Saccadic Behavior in Front of Aesthetic Stimuli from Different Categories: Paintings, Statues, Illusionistic Perceptions
	2.2 Methods
		2.2.1 The Exhibition
		2.2.2 Participants
		2.2.3 Material and Experimental Protocol
	References
3 Attraction to the Center. Magali Seille
	3.1 Prior Studies and Theories
		3.1.1 An Attraction to the Center of Images in the Early Stages of Exploration Observed in Screen-Based Experiments
		3.1.2 Hypotheses to Explain This Attraction to the Center
	3.2 Results from the Rouen Exhibition. Is the Attraction for the Center Will Be Verified in an In-Situ Experiment and from the First Saccade?
		3.2.1 Introduction
		3.2.2 Method
		3.2.3 Results
	References
4 How Do Children Look at the Paintings ? Magali Seille
	4.1 Studies About the Influence of Age on Saccades and Fixations
		4.1.1 Eye Tracking Studies on Children
		4.1.2 Eye Tracking Studies on Paintings in Children
	4.2 An Original Study: Comparison of the First Saccade on Paintings Between Children of Different Ages and Novices
		4.2.1 Introduction
		4.2.2 Methods
		4.2.3 Results
		4.2.4 Children Look Differently: A New Theory
	References
5 How Do We Look at Sculptures? Magali Seille
	5.1 The Specificity of Sculpture Among Visual Arts: What Can Be Learnt from Literature
		5.1.1 Very Few Scientific Studies Have Been Carried Out on Statues
		5.1.2 General Conceptions About the Visual Particularity of Statues
		5.1.3 Arnheim’s Contribution to Apprehend Sculpture in Its Singularity
	5.2 A Study in Situ on Statues
		5.2.1 Stimuli and Procedure
		5.2.2 Experiment 3: Comparing First Saccades on Paintings versus on Statues
		5.2.3 The First Saccade on a Real Statue Compared to the First Saccade on a Real Person and Compared to the First Saccade on a Statue in a Painting
	References
6 Synthesis Theoretical. Magali Seille
	6.1 The Materiality of the Artwork in a Museum Context
		6.1.1 The Physical Presence of a Statue
		6.1.2 The Physical Presence of a Painting
	6.2 Attraction to the Center in Paintings
		6.2.1 A Correlation Between Attraction to the Center and the Painting Frame
		6.2.2 The Importance of the Frame in the History of Western Painting
	References
Concluding Remarks. Magali Seille
Annexe A: The Questionnaire
Annexe B: The Paintings of the Exhibition
Salle 1: Narcisse
Salle 2: L’experience Hollandaise
Salle 3: L’armada Des Peintres
Salle 4: Les Loisirs Fluviaux
Bibliography