Polecam gorąco trochę lektury. Najlepiej zacząć od:
^Rudolf Anrheim, Sztuka i percepcja wzrokowa. Psychologia twórczego oka, Gdańska 2004

a dalej wedle czasu i możliwości:
^ Mark Jarzombek. The Psychologizing of Modernity (Cambridge University Press, 2000)
^ Alan Ryan, John Dewey and the High Time of American Liberalism. W.W. Norton 1995.
^ see for example: Arthur Robbins and Linda Beth Sibley, Creative Art Therapy . (Brunner/Mazel, 1976).
^ See for example, Creating images and the psychology of marketing communication, Edited by Lynn R. Kahle & Chung-Hyun Kim (Lawrence Erlbaum Associates, 2006).
^ Jung, Carl; Marie-Louise von Franz (ed.); Aniela Jaffé (1964). Man and his Symbols. London: Aldus Books Ltd. pp. 18–103; 230–271. ISBN 0-385-05221-9.
^ Griselda Pollock (ed.), Psychoanalysis and the Image. (Oxford: Blackwell. 2006).
^ Catherine de Zegher (ed.), Inside the Visible. (MIT Press, Boston, 1996)
^ Michael Podro The Critical Historians of Art (Yale University Press, 1982).
^ Dana Arnold and Margaret Iverson (eds.) Art and Thought. Oxford: Basil Blackwell, 2003.
^ See: Mark Jarzombek, Ibid.
^ a b c MacCarthy and Sullivan, John and Paul. "An Experimental Account of the Psychology of Art". Academic Journal. American Psychological Association. Retrieved 2012-03-30.
^ a b c Buckner and Sandelands, Georgette C. and Lloyd E. "Of Art and Work: Aesthetic Experience and the Psychology of Work Feelings". Academic Journal. JIA Press Incorporation. Retrieved 2012-03-30.
^ a b c d e f Lindell, Annukka K.; Mueller, Julia (1 June 2011). "Can science account for taste? Psychological insights into art appreciation". Journal of Cognitive Psychology 23 (4): 453–475. doi:10.1080/20445911.2011.539556.
^ a b c Solso, Robert L. (2003). The psychology of art and the evolution of the conscious brain. Cambridge, Mass.: MIT Press. pp. 2–12. ISBN 0262194848.
^ Robinson-Riegler, Bridget Robinson-Riegler, Gregory. Cognitive psychology : applying the science of the mind (3rd ed. ed.). Boston: Pearson Allyn & Bacon. pp. 46–47. ISBN 9780205033645.
^ a b c d e f g Landau, Mark J.; Greenberg, Jeff; Solomon, Sheldon; Pyszczynski, Tom; Martens, Andy (1 January 2006). "Windows Into Nothingness: Terror Management, Meaninglessness, and Negative Reactions to Modern Art.". Journal of Personality and Social Psychology 90 (6): 879–892. doi:10.1037/0022-3514.90.6.879.
^ a b c d e Proulx, T.; Heine, S. J.; Vohs, K. D. (5 May 2010). "When Is the Unfamiliar the Uncanny? Meaning Affirmation After Exposure to Absurdist Literature, Humor, and Art". Personality and Social Psychology Bulletin 36 (6): 817–829. doi:10.1177/0146167210369896.
^ Nicki, R.M.; Moss, Virginia (September 1975). "PREFERENCE FOR NON-REPRESENTATIONAL ART AS A FUNCTION OF VARIOUS MEASURES OF COMPLEXITY". Canadian Journal of Psychology/Revue canadienne de psychologie 29 (3): 237–249. doi:10.1037/h0082029.
^ a b c d e Vartanian, O. & Goel, V. (2004). "Neuroanatomical correlates of aesthetic preference for paintings". Cognitive Neuroscience and Neuropsychology 15 (5): 893–897.
^ Batt, Roger; Nakatani, Chie; Massiliano, Palmiero; van Leeuwen, Cees (11). "Style and spectral power: Processing of abstract and representational art in artists and non-artists". Perception 39: 1659–1671. doi:10.1068/p6747.
^ a b c Furnham, A. & Walker, J. (2001). "Personality and judgements of abstract, pop art, and representational paintings". European Journal of Personality 15: 57–72.
^ mastandrea, stefano; Bartoli, Gabriella & Carrus, Giuseppe (May 2011). "The Automatic Aesthetic Evaluation of Different Art and Architectural Styles". Psychology of Aesthetics, Creativity, and the Arts 5 (2): 126–134. doi:10.1037/a0021126.
^ Maass, A; Russo, A (2003 Jul). "Directional bias in the mental representation of spatial events: nature or culture?". Psychological science 14 (4): 296–301. PMID 12807400.
^ Vaid, Jyotsna; Rhodes, Rebecca; Tosun, Sumeyra; Eslami, Zohra (NaN undefined NaN). "Script Directionality Affects Depiction of Depth in Representational Drawings". Social Psychology 42 (3): 241–248. doi:10.1027/1864-9335/a000068.
^ Chokron, Sylvie; De Agostini, Maria (NaN undefined NaN). "Reading habits influence aesthetic preference". Cognitive Brain Research 10 (1-2): 45–49. doi:10.1016/S0926-6410(00)00021-5.
^ Nachson, I.; Argaman, E.; Luria, A. (NaN undefined NaN). "Effects of Directional Habits and Handedness on Aesthetic Preference for Left and Right Profiles". Journal of Cross-Cultural Psychology 30 (1): 106–114. doi:10.1177/0022022199030001006.
^ Swartz, Paul; Hewitt, David (1970). "Lateral organization in pictures and aesthetic preference". Perceptual and Motor Skills 30 (3): 991–1007.
^ McDine, David A.; Livingston, Ian J.; Thomas, Nicole A.; Elias, Lorin J. (NaN undefined NaN). "Lateral biases in lighting of abstract artwork". Laterality: Asymmetries of Body, Brain and Cognition 16 (3): 268–279. doi:10.1080/13576500903548382.
^ McLaughlin, John P.; Murphy, Kimberly E. (NaN undefined NaN). "Preference for Profile Orientation in Portraits". Empirical Studies of the Arts 12 (1): 1–7. doi:10.2190/MUD5-7V3E-YBN2-Q2XJ.
^ ten Cate, Carel (NaN undefined NaN). Journal of Nonverbal Behavior 26 (3): 175–192. doi:10.1023/A:1020713416442.
^ Simon, H. A. (1996). The Sciences of the Artificial. Cambridge, Mass: MIT Press.
^ Krupinski, E; Locher, P (1988). "Skin conductance and aesthetic evaluative responses to nonrepresentational works of art varying in symmetry". Bulletin of the Psychonomic Society 26 (4): 355–358.
^ a b Berlyne, D.E. (1971). Aesthetics and Psychobiology. New York: Appleton-Century-Crofts.
^ a b Orr, Mark; Ohlsson, Stellan (2005). "Relationship Between Complexity and Liking as a Function of Expertise". Music Perception 22: 583–611.
^ a b Zhang, K.; Harrell, S., Ji, X. (2012). "Computational Aesthetics: On the Complexity of Computer-Generated Paintings". Leonardo 45: 243–248.
^ Neperud, Ronald; Marschalek (1988). "Informational and Affect Bases of Aesthetic Response". Leonardo 21 (3): 305–31.
^ a b c d Chamorro-Premuzic, T; Burke, C. (2010). "Personality Predictors of Artistic Prefernces as a Function of Emotional Valence and Perceived Complexity of Paintings". Psychology of Aesthetics Creativity, and the Arts 4. doi:10.1037/a0019211.
^ a b c d North, A.C.; Hargreaves, D.J. (1995). "Subjective Complexity, Familiarity, and Liking for Popular Music". Psychomusicology 14: 77–93.
^ Silvia,, P. J. (2005). "What is interesting? Exploring the". Emotion 5: 89–102.
^ Forsythe, A; Nadal, M., Sheehy, C., Cela-Conde, C., Sawey, M. (2011). "Predicting beauty: Fractal dimension and visual complexity in art". British Journal of Psychology. doi:10.1348/000712610X498958.
^ Goodchilds, Jacqueline; Thornton B. Roby; Momoyo Ise (1969). "Evaluative reactions to the viewing of pseudo-dance sequences: Selected temporal and spatial aspects.". The Journal of Social Psychology 79 (1): 121–133. doi:10.1080/00224545.1969.9922395.
^ Tinio, P. P. L.; Leder, H. (2009). "Just how stable are stable aesthetic features? Symmetry, complexity, and the jaws of massive familiarisation.". Acta Psychologica 130: 241–250. doi:10.1348/000712610X498958.
^ a b Jones, B.; Lisa, D.M., and Little, A. (2007). "The role of symmetry in attraction to average faces". Perception 69: 1273–1277. doi:10.3758/BF03192944.
^ a b Rentschler, I.; Ju ̈ttner, M., Unzicker, A., & Landis, T. (1999). "Innate and learned components of human visual preference.". Current Biology 9: 665–671. doi:10.1016/S0960-9822(99)80306-6.
^ a b Makin, Alexis D. J.; Pecchineda, A. and Bertamini, M. (2012). "Implicit Affective Evaluation of Visual Symmetry.". Emotion. doi:10.1037/a0026924.
^ a b c d Reber, Rolf; Schwarz, Norbert; Winkielman, Piotr (1 November 2004). "Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver's Processing Experience?". Personality and Social Psychology Review 8 (4): 364–382. doi:10.1207/s15327957pspr0804_3.
^ a b c d e f Shepherd, Kathrine; Bar, Moshe (2011). "Preference for symmetry: Only on Mars?". Perception 40: 1254–1256. doi:10.1068/p7057.
^ a b c d e f Cárdenas, R.A.; Harris, L.J. (2006). "Symmetrical decorations enhance the attractiveness of faces and abstract designs". Evolution and Human Behavior 27: 1–18. doi:10.1016/j.evolhumbehav.2005.05.002.
^ Esaak, Shelley. "Balance". Education: Art History. About.com. Retrieved 27 September 2012.
^ Sammartino, Jonathan; Palmer, Stephen E. (1 January 2012). "Aesthetic issues in spatial composition: Effects of vertical position and perspective on framing single objects.". Journal of Experimental Psychology: Human Perception and Performance 38 (4): 865–879. doi:10.1037/a0027736.
^ Locher, Paul; Overbeeke, Kees; Stappers, Pieter Jan (1 January 2005). "Spatial balance of color triads in the abstract art of Piet Mondrian". Perception 34 (2): 169–189. doi:10.1068/p5033.
^ Latto, Richard; Brain, Douglas; Kelly, Brian (1 January 2000). "An oblique effect in aesthetics: Homage to Mondrian (1872 - 1944)". Perception 29 (8): 981–987. doi:10.1068/p2352.
^ Locher, Paul J (1 October 2003). "An empirical investigation of the visual rightness theory of picture perception". Acta Psychologica 114 (2): 147–164. doi:10.1016/j.actpsy.2003.07.001.
^ Vartanian, Oshin; Martindale, Colin; Podsiadlo, Jacob; Overbay, Shane; Borkum, Jonathan (1 November 2005). "The link between composition and balance in masterworks vs. paintings of lower artistic quality". British Journal of Psychology 96 (4): 493–503. doi:10.1348/000712605X47927. PMID 16248938.
^ a b c d Silvia, P. J. (2007). "Knowledge-based assessmetn of expertise in the arts: exploring aesthetic fluency". Psychology of Aesthetics, Creativity, and the Arts 1 (4): 247–249. doi:10.1037/1931-3896.1.4.247.
^ a b c d Winston, W. S.; Cupchik, G. C. (1992). "The evaluation of high art and popular art by naive and experienced viewers". Visual Arts Research 18 (1): 1–14.
^ a b c d e f Pihko, E.; et al. (2011). "Experiencing art: the influence of expertise and painting abstraction level". Frontiers in Human Neuroscience 5: 1–10. doi:10.3389/fnhum.2011.00094.
^ a b c d e f Vogt, S.; S. Magnussen (2007). "Expertise in pictorial perception: eye-movement pattern and visual memory in artists and laymen". Perception 36: 91–100. doi:10.1068/p5262.
^ a b c d e Leder, H.; G. Gerger, S. G. Dressler, and A. Schabmann (2012). "How art is appreciated". Psychology of Aesthetics, Creativity, and the Arts 6 (1): 2–10. doi:10.1037/a0026396.
^ a b c d e Hekkert, P.; Van Wieringen, P. C. (1996). "The impact of level of expertise on the evaluation of original and altered versions of post-impressionistic paintings". Acta Psychologica 94: 117–131.
^ a b c Augustin, M. D.; Leder, H. (2006). "Art expertise: a study of concepts and conceptual spaces". Psychology Science 48 (2): 135–156.
^ a b c d e f Belke, B.; Leder, H., & Augustin, M.D. (2006). "Mastering style - effects of explicit style-related information, art knowledge and affective state on appreciation of abstract paintings". Psychology Science 48 (2): 115–134.
^ a b Russell, Phil A. (1 February 2003). "Effort after meaning and the hedonic value of paintings". British Journal of Psychology 94 (1): 99–110. doi:10.1348/000712603762842138.
^ a b Franklin, Margery B.; Becklen, Robert C.; Doyle, Charlotte L. (1 January 1993). "The Influence of Titles on How Paintings Are Seen". Leonardo 26 (2): 103. doi:10.2307/1575894.
^ Leder, Helmut; Carbon, Claus-Christian; Ripsas, Ai-Leen (1 February 2006). "Entitling art: Influence of title information on understanding and appreciation of paintings". Acta Psychologica 121 (2): 176–198. doi:10.1016/j.actpsy.2005.08.005.
^ YEAZELL, RUTH BERNARD (April 2011). "THIS IS NOT A TITLE". The Yale Review 99 (2): 134–143. doi:10.1111/j.1467-9736.2011.00709.x.
^ Millis, Keith (1). "Making meaning brings pleasure: the influence of titles on aesthetic experiences". Emotion 1 (3): 320–329.
^ Rahmatabadi and Toushmalani, Saeid and Reza. "Physical Order and Disorder in Expressionist Architecture Style". Academic Journal. Australian Journal of Basic and Applied Sciences. Retrieved 2012-03-30

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