An oblique effect in aesthetics: Homage to Mondrian (1872-1944)

The effect of the orientation of Mondrian's paintings on their aesthetic ap peal was examined. Eight paintings, four with horizontal/vertical frames in the original and four with oblique frames, were presented in eight differe nt orientations and rated for aesthetic appeal on a 7-point scale. There wa s a stronger preference for pictures presented so that their component line s were horizontal and vertical than for pictures presented with their compo nent lines in an oblique orientation. In addition, subjects showed a prefer ence for the original orientation, perhaps because rotation changes the lat eral balance of the paintings as well as the orientation of the component l ines. There was no overall preference for one frame orientation over anothe r, but there was an interaction between frame orientation and component ori entation, resulting in a preference for paintings where the components were parallel to the surrounding frame. It is suggested that the aesthetic obli que effect reported here is related to the oblique effect in orientation pe rception and the privileged access which horizontal and vertical lines have to the visual system. This offers a possible mechanism for aesthetic judgm ents of abstract patterns: we find pleasing those stimuli which are closely tuned to the properties of the human visual system.