直線が強調された表現による抽象絵画および直線が強調されていない表現による抽象絵画を対象として，直線表現要素の違いによる印象評価の調査を行った。併せて，絵画を鑑賞した場合の印象評価と病院空間に掲示された絵画を鑑賞した場合の印象評価を比較検証した。この研究結果から，抽象絵画における直線表現要素の違い（垂直線・水平線・斜線・数量的比較）が印象評価に関連することが示唆された。絵画を鑑賞した場合の印象評価と病院空間に掲示された絵画を鑑賞した場合の印象評価において，直線表現要素の異なる抽象絵画について印象評価の差に特性がみられた。加えて，抽象絵画における直線表現要素の違いによる印象評価の差について，掲示される空間に関係なく印象評価の差を生じる評価因子が明らかとなった。

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表象は，ここにいながら自分の前にないモノ・世界を想起する能力である。幼児期，あるモノがそれ以外の何か別のモノをさすことを理解できない時期が存在し，小さな椅子に無理やり腰掛けようとするスケール・エラー等がみられる。本論考では，第一に，幼児期，「表象」「二重表象」を用いてどのように世界を構築していくのか，第二に人のミニチュア（縮小物）への嗜好等を俯瞰し，幼児期における“ごっこ遊び”などから表象理解，スケール理解について考察する。第三に，認知考古学からみた初期人類の知能の用い方と現代人類のMI（多重知能）理論の用い方の違いについて比較し，イメージ・スキーマ，プライマリー・メタファーの発現期を探る。古代から現代に至る過程で，認知的流動性の産物として生まれた芸術であるが，その（芸術）理解の基礎となる時期として，幼児期の2–3歳は重要な時期にあたることを検証したものである。

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In this paper, I shall examine Michael Fried’s approach to Caspar David Friedrich’s paintings and its significance in his study of art history. First, I clarify Fried’s theoretical framework, focusing on the concept of "absorption." Second, I explore how he proposes a type of subject distinct from the absorptive subject––called the "cognizer"––through his reading of Friedrich’s "Rückenfiguren" and Immanuel Kant’s philosophical texts. Finally, I contrast Fried’s interpretation of Friedrich’s Paintings with Robert Rosenblum’s reading, and situate the mode of experience of what Fried calls the "cognizer," between two kinds of aesthetic attitudes, "absorption" and "contemplation."

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本稿は,「見る」という行為に着目し,西洋と日本の「見る」を比較しながら,日本の「見る」の特徴を明らかにするものである。始めに,ルネサンス期から抽象表現主義までの西洋画家たちの「見る」の変遷を追いながら西洋の「見る」を考察した。次に,仏教の「観る」をもとに日本画家たちの対象への迫り方を分析し,日本の「見る」を考察した。結果として,日本の「見る」は,内的真実を追求する点が強いことが明らかになった。そこで,日本の「観る」という概念を意識した美術教育を行えば,児童生徒は内的真実を追求することになり,より一層対象を鋭く観察する力や物事の本質を探ろうとする態度が身に付くのではないかと考え,「“観”を促す水墨表現」という方法の展開を提案する。

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本研究は，従来の美術系大学の受験のための「視覚的なデッサン」とは異なる「感性的なデッサン」を行うことで，芸術家の絵がどのように変容するかをさまざまに実験することを通して，芸術における石膏デッサンの新たな価値の発見を目指したものである，実験では，徳島および台湾の芸術家とともに，像を直感で描いたり，像を布で覆ってその感触を描いたり，感性優位なデッサンを重ね，そこから新たな絵の創造を試みた。 結果的に，本研究の実験に関わった芸術家の作品は，感性的石膏デッサンと自らの絵の行きつく方向やコンセプトとの相乗効果によって，より精神性の高い創造的な絵に変容していった。その変容の内容は，（1）感性的石膏デッサンは古いものを打ち破り，新しい作品を生む，（2）感性的石膏デッサンは抽象も具象の作品も創造する，（3）感性的石膏デッサンは自らを客観的に可視化し，自らも作品も成長させる，の3 点で説明できた。

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This paper analyzes the photographs and films which recorded the creation of Jackson Pollock’s all-over paintings. Hans Namuth was photographer and filmmaker who did them in 1950. There are black-white photographs which show two all-over paintings, and films which show three all-over paintings. Pepe Kermel analyzed these photographs and films, and insisted that there were humanoid and animal figures in all-over paintings (Pepe Kermel, 1998). However, as Kent Minturn pointed out (Kent Minturn, 2001), there is a possibility that Kermel arbitrarily made such figures by graphic software. This paper tries to analyze these photographs and films again. I sorted these by stages, and reconstructed whole canvas. As a result, it became clear that there are humanoid figures and materials at the first layers of No. 27, 1950, No. 29, 1950. Pollock drew strokes on upper layers to cover these figures. Meanwhile, on the red canvas picture which is lost now, Pollock didn’t draw the representational figures, but made each layer by repeating same simple lines from side to side. We can see that Pollock had two methods for making all-over paintings, one with representational figures and one without.

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In the study of art, the philosophical tradition, and important assumptions within this tradition, forms the basis for psychological conceptions and cognitive models of art perception, implicit goals and approach to art-viewing, and their application to art education and viewer relations. However, the prevalent philosophical conception of art and aesthetic experience, which share the assumption that success or "cognitive mastery" drives aesthetic perception, contains fundamental flaws, which extend to, and ultimately constrain, the study and application of art. While existing conceptions explain how a viewer masters the environment, based upon prior expectations and abilities, they cannot explain how they come to perceive and be transformed by, something new; nor can they account for how this feels. Yet, it is exactly these qualities in art-perception that both philosophers and social scientists agree constitutes the unique "challenge" of art. It is necessary that this be examined, and a solution considered, building from the philosophical basis and then extended to a psychological discussion. We argue that, in opposition to success, a failure- based model, organized around the conflict between self-protection and self-transformation in the processing of discrepancy, is better able to explicitly unite cognition, emotion and physiological effect with perception and evaluation; and allows for needed discussion of perceptual and conceptual change within experience, and a needed distinction between "facile" evaluation and mastery following meta-cognitive reflection and adjustment. We explore both success and failure-based approaches and introduce conceptual and contextual aspects for a five-stage failure-based model of art-perception culminating in "Aesthetic Experience"; discuss the inter-relation of emotional and cognitive factors that may be important for objective research on art evaluation and art education; and clarify the important tie between failure, epiphany and perceptual growth in the experience of art.

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Man Ray, American artist, went to France in 1921 asking for a place of new activity. At the outbreak of the Second World War, he returned to his country in 1940, and spent about 10 years in Los Angeles. However, while attention has focused on the photographic works of the surrealist period of the 1920s and 1930s, his activities during his stay in California is rarely discussed. One considers Man Ray led a retired life there. In this paper, focusing on the fact that Man Ray was involved in an abstract art group called “Open Circle”, we examine about his California era. In particular, our purpose is to report on his activities in the Californian art field through his relationship with the painter Knud Merrild born in Denmark, who produced the paintings and named them “Flux” with techniques such as Dripping and Pouring. Attempts to elucidate artistic activities of Man Ray in Los Angeles allow us to move away from the post war art history which explains the center of art was transferred from France to the United States, namely New York. It will also be an opportunity to review the history of art from a local perspective.

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