Zavagno Daniele, Actis-Grosso Rossana, Daneyko Olga
Department of Psychology, University of Milano-Bicocca, Milan, Italy.
NeuroMI Milan Center for Neuroscience, University of Milano-Bicocca, Milan, Italy.
Front Hum Neurosci. 2022 Jul 1;16:878288. doi: 10.3389/fnhum.2022.878288. eCollection 2022.
We present results from two experiments aimed at studying the direction of 's gaze and its affective expression. In experiment 1 we studied the effect of retinal image size on the perception of her gaze by manipulating observation distances of a high-quality print of the painting. Participants ( = 30) were asked to answer a simple question (is the person portrayed looking at you?) from six different distances ranging from 55 to 755 cm. One group of participants started evaluations from 55 cm; the other group did the opposite. Results show an effect of distance on the perception of Mona Lisa's gaze as staring at the observer: from the furthest distances, the impression of a staring Mona Lisa is robust; from the nearest distances, such impression becomes ambiguous. Experiment 2 presents data concerning the direction of Mona Lisa's gaze and whether this appears to be smiling, derived from an experiment aimed at studying the impression of gaze (direction and emotional content) in portraits (paintings and photographs). Only data concerning Mona Lisa are reported. Participants ( = 41) were randomly assigned to one of two groups: on a LCD screen, one group saw the entire head, and the other group saw only a section reproducing Mona Lisa's eyes. Experimental sessions were two: in session 1 participants had to decide whether the image (whole-head or eyes only) was looking at them; in session 2 participants had to decide whether the head (or the eyes) was smiling. RTs from the two groups of participants were not statistically significant. Results for session 1 confirm experiment 1's general findings. Results for session 2 clearly show that Mona Lisa is not only smiling with her face, but also with her eyes. Results are discussed in relation to the literature on Mona Lisa's gaze and smile.
我们展示了两项旨在研究蒙娜丽莎凝视方向及其情感表达的实验结果。在实验1中，我们通过操纵一幅高质量画作印刷品的观察距离，研究视网膜图像大小对蒙娜丽莎凝视感知的影响。参与者（n = 30）被要求从55至755厘米的六个不同距离回答一个简单问题（画中人物是否在看你？）。一组参与者从55厘米开始评估；另一组则相反。结果显示距离对蒙娜丽莎凝视观察者的感知有影响：从最远的距离看，蒙娜丽莎凝视的印象很强烈；从最近的距离看，这种印象变得模糊不清。实验2呈现了有关蒙娜丽莎凝视方向以及她是否看起来在微笑的数据，这些数据源自一项旨在研究肖像画（绘画和照片）中凝视印象（方向和情感内容）的实验。仅报告了有关蒙娜丽莎的数据。参与者（n = 41）被随机分配到两组中的一组：在液晶显示屏上，一组看到整个头部，另一组只看到再现蒙娜丽莎眼睛的部分。实验环节有两个：在环节1中，参与者必须判断图像（整个头部或仅眼睛）是否在看他们；在环节2中，参与者必须判断头部（或眼睛）是否在微笑。两组参与者的反应时间在统计学上无显著差异。环节1的结果证实了实验1的总体发现。环节2的结果清楚地表明，蒙娜丽莎不仅脸部在微笑，眼睛也在微笑。我们结合关于蒙娜丽莎凝视和微笑的文献对结果进行了讨论。
