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By Martin S. Lindauer

Aging, Creativity and paintings: a favorable point of view on Late-LifeDevelopment explores the strengths and possibilities of previous age as those are manifested via the accomplishments of getting older artists, overdue creative works, and aged arts audiences. The ebook attracts on scholarship within the humanities, essentially in artwork historical past; examines in general work and painters, either ancient and modern; studies empirical study on creativity and cognition, predominantly from psychology and gerontology; and offers the author's unique reports, together with surveys of artwork historians, questionnaires accomplished by way of getting older artists and humanities audiences, and experiments regarding judgments of paintings through laypersons. The study offered in Aging,Creativity and artwork: a favorable viewpoint on Late-Life Development means that creativity maintains into the later years; higher-order psychological skills with regards to creativity, like mind's eye and problem-solving, persist till past due in existence; and the elderly's actual, sensory, psychological, and interpersonal talents could be superior via engagement with the humanities. This paintings interrelates the disciplines of technology, the arts, and the humanities to shape a synthesis that builds at the strengths of the tools of quantification of technological know-how; the emphasis at the person within the humanities; and the expressive and intuitive modes of conversation within the arts. Aging, Creativity and paintings: a favorable standpoint onLate-Life Development severely examines the psychology of creativity, cognitive improvement, and gerontology, and may be of curiosity to quite a lot of pros and scholars in those fields.

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Goya (82), Hals (86), Matisse (84). Michelangelo (89), Munch (81). Renoir (78), Rodin (77), Tintorello (76), and Titian (92). Numerous special exhibitions of art by old artists have been mounted (Chapter 5). "Artists need ne ver fade away" (Greenberg, 1987, p. 25). Lehman (1953), the mo st well-known advocate of the youth ful onset and cessation of creativity (Chapters 3 and 4). forcefully insisted that "The vast majority of our great creative th inkers have not died young .. "· It is just the opposite.

The lyrics from the 1920s and 1930s, despite their triteness, sentimentality, and romanticism, suggest that Americans "accepted old age as a separate, identifiable, age-bounded time of life, fraught with special needs and dilemmas," such as "the distress and disability accompanying the aging process," "fear and degradation of the elderly," and "sympathetic and empathic attitudes toward old age. " More recent popular music has dropped many of these earlier themes and added new and opposing ones.

Titian completed his masterpiece The Battle of Lepanto and began one of the most famous paintings in the world , The Descent From the Cross, in his 90s. Mantagna, Bellini, and Ingres produced great art between ages 70 and 76. Michelangelo worked on his Last Judgment between ages 59 and 66 and then did architecture between 67 and 89; he also wrote sonnets between ages 65 and 75. Other artists who enjoyed "a great late phase, " include Braque, Matisse , and Picasso; the latter is reported to have said, "As one grows older, art and life become one and the same" (Richardson, 1997, p .

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