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Positioning Bias in Portraits and Self-Portraits: Do Female Artists Make Different Choices?
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Three studies analyzed spatial orientation of portraits (Study 1, N = 359 and Study 2, N = 961) and self-portraits (Study 3, N = 362). Besides replicating a number of previous findings (a general left-ward orientation in portraits but right-ward orientation in self-portraits), we report a number of new results: (1) compared to men, women painters show no gender bias in portraits, and show no rightward orientation in self-portraits; (2) gender differences decline over time and disappear entirely after the 1848 social movements in Europe; and, (3) old and young sitters are portrayed with a stronger leftward orientation than sitters of the intermediate age group (supported only in Study 1). Results are interpreted as supporting Chatterjee's (2002) agency hypothesis.
Title: Positioning Bias in Portraits and Self-Portraits: Do Female Artists Make Different Choices?
Description:
Three studies analyzed spatial orientation of portraits (Study 1, N = 359 and Study 2, N = 961) and self-portraits (Study 3, N = 362).
Besides replicating a number of previous findings (a general left-ward orientation in portraits but right-ward orientation in self-portraits), we report a number of new results: (1) compared to men, women painters show no gender bias in portraits, and show no rightward orientation in self-portraits; (2) gender differences decline over time and disappear entirely after the 1848 social movements in Europe; and, (3) old and young sitters are portrayed with a stronger leftward orientation than sitters of the intermediate age group (supported only in Study 1).
Results are interpreted as supporting Chatterjee's (2002) agency hypothesis.
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