Abstract Art’s Psychological Impact on Emotion and Thought

Abstract art – art that does not attempt to represent external reality – has profound psychological effects on viewers’ emotions and thought processes. Scientific studies in psychology and neuroscience are beginning to unravel how abstract art engages the brain, often in unique ways compared to representational art​

Pioneering abstract artists like Wassily Kandinsky and Kazimir Malevich believed that abstraction could directly communicate with the human soul and mind. This article explores the emotional and cognitive impact of abstract art, drawing on research findings and the insights of artists and scholars. We also discuss different types of abstract art, their specific effects, and consider which varieties might have negative psychological influences that sensitive viewers may wish to avoid.

Emotional Effects of Abstract Art

Colors, Shapes, and Feelings

Even without recognizable subject matter, abstract art can evoke strong emotional responses. In some experiments, abstract images elicited positive emotions from viewers, sometimes even more so than figurative images​

The colors and shapes in an abstract piece play a key role: recent research by Wagemans & Walther found that people intuitively associate specific colors and line styles with basic emotions. For example, red and jagged lines tend to signal anger, black/gray evoke fear, whereas yellow and flowing curves suggest joy​

These visual elements impact us on a visceral level – as Kandinsky famously wrote, “Color is a power that directly influences the soul”​

His view was that abstract forms, like musical notes, can convey emotional truths without words or objects. Indeed, Kandinsky asserted that “the more abstract is form, the more clear and direct its appeal”​, suggesting that abstraction communicates feeling in a pure, immediate way.

Beyond color psychology, the texture and motion implied by abstract art can also stir emotion. Neuroscientists David Freedberg and Vittorio Gallese have shown that when we view art with visible brushstrokes or drips, such as Jackson Pollock’s energetic splatter paintings, our brains activate in areas linked to motion and emotion, as if empathizing with the artist’s movements​

Autumn Rhythm (Number 30) (1950) by Jackson Pollock, enamel on canvas, 266×525 cm.

Pollock’s drip technique creates rhythmic webs of paint. Viewers often feel a bodily response to such gestural abstraction, as if sensing the artist’s motions, which can evoke excitement or tension​.

Not all abstract art aims to energize; some evokes contemplative or even spiritual emotions. Abstract “color field” paintings – large expanses of color as seen in Mark Rothko’s works – can induce a meditative, transcendent mood. As one popular science text notes, brighter hues in Rothko’s abstract panels tend to feel “joyous,” whereas his later dark canvases convey a somber, “brooding” emotional tone​

Viewers of Rothko’s murals have reported feelings ranging from tranquility to profound sadness. These reactions occur precisely because abstract art invites us to project our own feelings onto it. Without a clear narrative given by the art, we search internally for meaning, often experiencing emotions that arise from within ourselves.

Crucially, whether abstract art elicits joy, confusion, sadness, or awe depends on the individual viewer as much as the artwork. There is typically low agreement among people about which abstract paintings are “beautiful” or moving​

– a reminder that our emotional response is highly personal. Those who are open to engaging their imagination tend to find abstract art deeply satisfying. As neuroscientist Eric Kandel explains, “When we look at abstract art it requires more of our imagination… We have to supply those details. That—for people who can do it—is very pleasurable”​

In other words, if we enjoy exercising our own creativity, abstract art’s emotional impact can be uniquely rewarding. Indeed, art theorist Carl Einstein noted that the advent of abstraction ended “the laziness of vision” – viewing art became an active, emotionally engaging process rather than a passive one​

Summary of Emotional Impacts

• Positive uplift: Many abstract artworks use colors and forms that elicit positive emotions like wonder and joy. Studies found abstract images often provoke upbeat feelings. Artists like Kandinsky aimed to “improve and refine the soul” through abstract art’s emotional power​.
• Emotional expression: Abstract art can externalize the artist’s emotions (anger, chaos, serenity, etc.), which viewers may resonate with. E.g. bold red splashes may transmit urgency or anger, while soft blue washes induce calm.
• Embodied empathy: Dynamic, gestural abstractions cause viewers to subconsciously simulate the movements (thanks to mirror neuron systems), leading to a feeling of empathy and emotional connection with the artwork​
• Spiritual feelings: Pioneers like Malevich and Kandinsky believed abstraction could convey spiritual or cosmic emotions. Malevich’s philosophy of Suprematism held that a pure abstract form (like a simple black square) could directly communicate “the supremacy of pure feeling” beyond the material world​​

Effects on Cognition and Thought Processes

Beyond emotions, abstract art also influences how we think. Because it does not depict the familiar world, it pushes our brains to operate differently. As one neuroscience essay put it, “abstract art frees our brain from the dominance of reality, enabling it to flow within its inner states, create new emotional and cognitive associations”​

This freedom from concrete reality has several cognitive effects:

1. Engaging Imagination and Interpretation: When faced with an abstract piece, viewers must actively interpret and find meaning. Our mind becomes a participant in the artwork. This mental exercise can spur creative thinking and personal insight. Psychologist Jonathan Schooler and colleagues suggest that the “unconventional nature” of abstract and surreal art forces the brain to “relax its default perceptual predictions”, encouraging a more open, exploratory state of mind​

In fact, experiments have shown that contemplating abstract art can boost measures of divergent thinking and creativity​

The viewer learns to tolerate ambiguity and discover patterns or metaphors, which is essentially creative problem-solving. Eric Kandel noted a parallel in art and science: mid-20th-century abstract painters, like scientists, “experimented with reducing art to the bare minimum components that could still evoke emotional responses, which challenged viewers to think in new ways”​

In this sense, abstract art exercises our brain’s capacity for imagination and “mind-wandering” – engaging the default mode network associated with introspection​

2. Shifting to Abstract Thought (Psychological Distance): A recent large-scale experiment published in PNAS demonstrated that viewing abstract art induces a more abstract cognitive mindset in viewers​

Participants were more likely to imagine placing an abstract painting in a far-away gallery and future date than a realistic painting​

This suggests that abstract art increases “psychological distance”, making us step back and think in broader terms. According to construal level theory, greater psychological distance promotes big-picture, conceptual thinking rather than concrete details. As the study’s co-author Daphna Shohamy explained, “art has an effect on our general cognitive state… it changes the way we perceive events and make decisions”​

In practical terms, after engaging with abstraction, we might find ourselves thinking more philosophically or considering long-term perspectives on issues – our mindset shifts toward ideas and possibilities (the forest) over immediate minutiae (the trees).

3. Active Perception and Problem-Solving: Abstract art demands active perception. With no obvious subject, our visual system looks harder for patterns, “scouring” the entire image​

Eye-tracking research confirms that people inspect all over an abstract painting in search of meaning, in contrast to focusing on central objects in figurative art​

This all-over scanning means the brain is assembling the puzzle of the artwork from scratch. Art historian Carl Einstein lauded this effect, saying abstraction ended complacent viewing – “Seeing had again become an active process”​

Over time, engaging with such art can sharpen one’s visual analysis skills and comfort with uncertainty. Some cognitive scientists even liken enjoying abstract art to solving an open-ended problem: you weigh possibilities, form hypotheses (“perhaps this dark shape symbolizes X”), and adjust your interpretation – a very cerebral exercise.

4. Emotional-Cognitive Integration: Abstract art often blurs the line between emotion and thought. Without a literal storyline, the “meaning” of the art emerges from the viewer’s own thoughts and feelings in response to the colors and forms​

This encourages an integration of emotional intuition with cognitive reflection. Neuroaesthetic researchers have found that aesthetic appreciation of abstract paintings varies widely between individuals, and each person’s brain may recruit a unique pattern of neural activity when deciding if an abstract piece is beautiful​

In other words, abstract art appreciation is a deeply personal cognitive-emotional act. It engages brain regions tied to memory, association, and reward, as we connect the art to our own life experiences and values​

The reward circuit activation (like the caudate nucleus releasing dopamine) can be high when we find an abstract piece meaningful, but drops if we don’t “get” or like the piece​

Thus, when abstract art resonates, it can be mentally exhilarating, but if it fails to connect, the brain’s reward response is low and we may feel indifferent or frustrated​

Insights from Artists and Scholars

It’s illuminating to see how early abstract artists anticipated these scientific findings. Wassily Kandinsky argued in 1910 that abstract art engages a viewer’s spiritual and intellectual faculties. He advised viewers to “lend your ears to music, open your eyes to painting, and… stop thinking! Just ask yourself whether the work has enabled you to ‘walk about’ into a hitherto unknown world”​

Kandinsky describes the cognitive shift – entering an “unknown world” – that modern research now recognizes as increased psychological distance and imaginative cognition. Likewise, Kazimir Malevich wrote in 1926 that by removing real-world objects, “the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling… Art arrives at non-objective representation – at Suprematism”​

Malevich believed abstract art would “free viewers from the material world”, forcing them to contemplate pure feeling and thought​

This aligns with the idea that abstract art elevates us to universal ideas and inner reflections, beyond everyday reality.

Contemporary neuroscientists and authors have built on these intuitions. Nobel laureate Eric Kandel, in Reductionism in Art and Brain Science (2016), explores how viewing abstract art activates our brain. He notes that because much of the detail is omitted in abstraction, the viewer’s “top-down” processing must fill in the gaps, drawing on memory and imagination​

This active completion is pleasurable when successful, engaging our intellect. Kandel also quotes Carl Einstein’s observation about active seeing, reinforcing that abstract art is an exercise for the brain​

Popular books like Your Brain on Art (Susan Magsamen & Ivy Ross, 2023) likewise synthesize research showing that engaging with art (including abstract art) can improve neural plasticity, creativity, and even mental health outcomes by stimulating brain networks in novel ways. In short, abstract art makes our brains “work out” – and, as many art-lovers attest, the process “hurts so good” (to borrow a phrase from a Salon article on why abstract art challenges the brain)​

Types of Abstract Art and Their Psychological Effects

Abstract art is diverse – different styles of abstraction can impact our emotions and thoughts in distinct ways. Below we expand on a few major types of abstract art, how they tend to affect viewers, and give examples (with artists and images) to illustrate each. Keep in mind that individual reactions vary, but these are general trends noted by art theorists and psychologists.

Geometric Abstraction and Minimalism

Geometric abstraction uses simple shapes, lines, and often flat areas of color. Think of Kazimir Malevich’s Black Square or Piet Mondrian’s grid paintings. These works strip art down to fundamental elements, aiming for purity and universality.

Black Suprematic Square (1915) by Kazimir Malevich, oil on canvas, 79×79 cm.

The psychological impact of geometric abstracts is often one of intellectual contemplation and order. Many viewers experience a sense of calm or balance when looking at harmonious arrangements of shapes and colors. For instance, Mondrian’s compositions of black lines with red, yellow, and blue rectangles can instill a feeling of stability and clarity, as the brain appreciates the symmetry and simple color harmony. Such art can appeal to the analytical side of our mind, as we might ponder the artist’s design and the relationships between forms. The emotional tone is sometimes cooler or neutral compared to the passion of gestural art – geometric abstracts “speak” more quietly, through logic and symmetry.

However, geometric minimalism can also evoke spiritual or transcendental feelings in viewers – a kind of meditative response. Malevich believed his flat geometric forms (circles, squares) communicated cosmic concepts and raw emotion. He wrote, “By Suprematism I mean the supremacy of pure feeling in creative art… The object in itself is meaningless; the essential thing is feeling”​

Indeed, staring into the void of a simple black square or a vast white canvas can be a profound experience: some feel a sense of the infinite, while others might feel emptiness or boredom. The reaction often depends on one’s willingness to engage conceptually. In museum settings, people sometimes stand in silent contemplation before minimalist abstracts, indicating a deeply internal cognitive/emotional dialogue.

From a research perspective, abstracts with regular patterns or symmetry (common in geometric art) are processed efficiently by the visual cortex, which can be pleasing to the brain’s pattern-recognition system. But if they are too featureless, the brain may search for meaning and come up blank – which can cause frustration in some viewers. Minimal abstract art thus walks a fine line: for a receptive mind it triggers zen-like reflection, but for others it may feel perplexing or “empty.”

Lyrical and Expressionistic Abstraction

This category includes more organic, free-form abstractions that are often richly colored and dynamic, as seen in Wassily Kandinsky’s paintings or the later works of Joan Miró and Arshile Gorky. Kandinsky’s Composition VII (see image above) is a riot of biomorphic shapes and vibrant hues applied in a rhythmic, almost musical manner. He intended such works to evoke inner emotional resonance, akin to how music (a purely abstract art) stirs feeling.

Viewers of lyrical abstracts commonly describe complex emotional responses: the colors might uplift or unsettle, the swirling forms may inspire curiosity or introspection. Kandinsky believed that combinations of color and form could elicit specific feelings – for example, he likened yellow to an energetic, manic feeling and blue to a deep calm​

goodreads.com. In Composition VII, the chaotic intermingling of forms can initially bewilder the mind, but as one lets go of trying to “identify” objects, an emotional impression emerges – perhaps of turbulence and rebirth (Kandinsky associated this piece with themes of deluge and redemption).

Psychologically, this kind of art engages our associative thinking. The brain may not find literal objects, but it will start associating the abstract forms with memories or ideas (a spiky black shape might remind one of a storm, a soft pink cloud might suggest a gentle melody, etc.). This makes viewing a very personal experience, as each viewer’s associations differ. A study by Bhattacharya & Petsche (2002) found that people reported many different associations and interpretations for the same abstract painting​

pmc.ncbi.nlm.nih.gov, reflecting the idiosyncratic thought patterns lyrical abstraction provokes. Yet, those viewers also reported positive emotions frequently​

pmc.ncbi.nlm.nih.gov, indicating that once they engage, they find the process rewarding. Lyrical abstract art often feels spontaneous and creative, which can inspire similar creativity in the viewer’s thinking.

Emotionally, these works can range from joyous and playful (e.g. Miró’s whimsical shapes) to melancholic or chaotic (e.g. some of Gorky’s anguished abstractions). The key is that the emotion is usually conveyed in a non-literal, poetic manner. Many popular audience books, like The Artist’s Mind, discuss how looking at such art trains us in emotional intelligence – we learn to read subtle visual cues and to sit with ambiguity, which can translate to better tolerance for complexity in real-life emotional situations.

Abstract Expressionism (Action Painting)

Abstract Expressionism refers to the post-WWII movement where artists like Jackson Pollock, Willem de Kooning, and Franz Kline created large-scale abstractions with vigorous brushwork. The gestural “action painting” substyle, epitomized by Pollock’s drip paintings, is known for conveying the raw physical act of painting.

These works tend to have a high-impact psychological effect. Visually, they present an all-over tangle of lines, splashes, or thick strokes, which can overwhelm the viewer’s eye at first. The lack of focal point forces the viewer’s gaze to continuously wander – a very different experience from centered, balanced traditional compositions​.

This induces a state of immersive attention; some describe it as getting “lost” in the web of paint. From an emotional standpoint, action paintings often radiate intensity, urgency, and freedom. Many viewers feel either excited and energized by the dynamism, or in some cases, unsettled and anxious if the painting’s chaos is interpreted negatively.

Neurologically, as mentioned, these paintings engage our mirror neuron and motor systems, giving a sense of bodily involvement. One EEG study even showed that looking at abstract art can activate motor areas of the cortex, as if preparing to mimic the motions​.

Thus, a Pollock painting can almost “move” the viewer internally, stirring restless energy. This might partly explain why some people find such art therapeutic (it releases tension) while others find it agitating.

Cognitively, action painting pushes us to find order in apparent chaos. Psychologists have noted that viewers often try to discern patterns or meaning in Pollock’s dense drips – and intriguingly, Pollock’s patterns do have fractal properties that the brain subconsciously appreciates as natural-like order. Art critic Clement Greenberg noted that Pollock’s all-over compositions created a “continuum” that liberated painting from composition rules. For the viewer, this means a new mode of seeing: you take in the painting holistically, almost like a field of vision, rather than piece by piece. It encourages a surrender of analytical thought and an acceptance of visceral experience. As Pollock himself said, “Painting is self-discovery. Every good artist paints what he is”​- when viewing, we in turn might discover aspects of ourselves (our tolerance for chaos, our emotional reflexes) in our reaction to the painting.

Color Field and Chromatic Abstraction

In the 1950s, another branch of Abstract Expressionism focused on large fields of color and simple compositions – artists like Mark Rothko, Barnett Newman, and Clyfford Still. These color field paintings typically feature one or a few large zones of color with soft edges. The psychological effect is very different from action painting: color field works are often described as contemplative, spiritual, or introspective in tone.

When standing before a huge Rothko canvas that subtly shifts from deep purple to dark red, viewers often report a transfixing, meditative state. The simplicity gives the mind less to actively parse; instead, one is drawn into the color itself. The gradual color transitions can induce a sort of visual melting sensation or an emotional mood that is hard to put into words. Many find Rothko’s works to be profoundly moving – in fact, there are documented cases of viewers brought to tears (“the Rothko effect”). The artist aimed to provoke basic human emotions: tragedy, ecstasy, doom, and so on. As noted earlier, the emotional valence depends on the color scheme – bright warm colors may feel hopeful, while the dark maroons and blacks of Rothko’s later works evoke somberness​.

Cognitively, color field paintings encourage mindfulness and reflection. With minimal “content,” the viewer often turns inward, examining their own feelings in response to the color. It’s not uncommon for thoughts to drift in a stream-of-consciousness way (much like during meditation). The monochromatic expanses can also cause subtle optical effects – the viewer’s perception of the color might fluctuate over time, illustrating how our visual system adapts and searches for boundaries. This gentle cognitive engagement is quite different from the intense problem-solving of deciphering a Pollock; it’s more about sustained attention and present-moment awareness. Some psychologists have likened the experience to aesthetic harmony – the painting can induce a calming effect on the brain, slowing down the viewer’s mental pace as they breathe and take it in. This is supported by findings that exposure to certain art can reduce stress and even slow heart rate; color field paintings, with their serene surfaces, are prime candidates for such an effect.

On the other hand, if a viewer is not in tune with this style, they might dismiss it as “boring” because it lacks obvious stimulation. This again highlights how mindset matters: those who approach it as an opportunity for quiet contemplation often reap a rewarding, almost spiritual experience, whereas those expecting “something to happen” might feel impatient or blank.

Op Art and Perceptual Abstraction

A very different kind of abstract art emerged in the 1960s with Op Art (Optical art), led by artists like Bridget Riley and Victor Vasarely. These works use geometric patterns, high-contrast colors, and illusions to trick the eye and mind – for example, Riley’s black-and-white waves can produce the sensation of motion or color where none exists. The psychological impact here is primarily on the perceptual system: op art can cause excitement but also physical discomfort in some viewers.

When looking at a pulsating op art design, viewers often feel a visual tension or vibration, as the brain’s visual cortex is stimulated to its limits trying to resolve the patterns. Short exposure can be exhilarating – it’s a playful challenge to vision, provoking thoughts about how our brain constructs reality. However, longer exposure might lead to eye-strain, dizziness, or headache in susceptible individuals, as the constant oscillation in the image forces the brain to work hard. Emotionally, op art is less about deep feelings and more about a mix of surprise and curiosity (“How is it doing that?”). It certainly engages cognitive processes of analyzing patterns and can foster an appreciation for the brain’s complexity (viewers often marvel that “I’m seeing gray dots that aren’t there!” – a realization of how our mind can be fooled).

Because op art directly targets our visual processing mechanics, it’s a favorite in discussions of art and neuroscience. It concretely shows that what we see is not always what is – our perception is an active interpretation. For some, this is intellectually fascinating; for others, it might be unpleasant to feel their senses so destabilized. Hence, op art is a clear example where one’s neurological sensitivity plays a big role in the psychological experience.

Potential Negative Effects and What to Avoid

While abstract art can offer many positive benefits – from pleasure and inspiration to cognitive exercise – it’s worth noting that not every abstract artwork is beneficial for every person. Certain types of abstract art may have potentially negative impacts on mood or mental state, especially if the viewer is in a vulnerable or sensitive condition. Here are a few considerations on what kinds of abstraction one might choose to avoid (or approach cautiously) due to possible negative effects:

• Overly Chaotic or Aggressive Art: Some abstract pieces are intentionally jarring – they may feature clashing colors, frenetic scribbles, or an overall sense of disorder and tension. If you are someone prone to anxiety or sensory overload, these artworks could exacerbate stress. Research suggests that when an artwork elicits low aesthetic pleasure or understanding, the brain’s reward response is minimal and it can even induce slight stress. For example, an abstract painting dominated by harsh red spikes on a black background might convey anger or danger and raise your physiological arousal (heart rate, blood pressure) rather than calm it. A study on emotional simulation in abstract art predicted that such paintings can successfully evoke anger or anxiety in viewers​. If you find yourself unsettled or irritated by a particular piece – perhaps it feels “aggressive” or discordant to you – it’s wise to step away. Art should not torture the viewer; as Kandinsky said, “there is no ‘must’ in art” – you are free to disengage if it doesn’t feel right.
• Extremely Dark or Somber Abstractions: Just as uplifting colors can improve mood, predominantly dark, gray, or black abstracts might reinforce sadness or loneliness for some viewers. Malevich’s Black Square, shown above, is a landmark in art, but a viewer in a depressed state might project negativity onto its void. Psychological research on color-emotion links shows that black and gray correlate with fear and sadness in abstract depictions. Thus, someone struggling with depression might want to avoid surrounding themselves with only bleak, heavy abstract images. This isn’t to say such art is “bad” – in fact, processing dark emotions through art can be cathartic in a controlled way (as another PNAS study suggests, experiencing negative emotions in art can help us positively “embrace” those emotions from a safe distance​). But as a rule of thumb, pay attention to how an artwork’s tone affects you. If an abstract painting’s gloom leaves you feeling worse, it may not be the best choice for your well-being in that moment.
• Ambiguous Images that Trigger Personal Trauma: Abstract forms can sometimes unconsciously remind us of personal fears or traumatic memories – a viewer might “see” an aggressive face or a chaos that recalls a past event, even though the art is non-representational. Our minds are wired to find patterns, sometimes even where none were intended (a phenomenon akin to pareidolia). If an abstract artwork is consistently pulling your thoughts into a negative spiral or rumination, it’s healthy to avoid it. Unlike narrative art where one can rationalize that “it’s just a painting of X,” abstraction leaves more room for projection, which can be a double-edged sword.
• Optical Overstimulation: As discussed with Op Art, certain abstract patterns can literally make you feel ill (nausea, migraine) due to visual overstimulation. If you know you are sensitive to flickering lights or intense patterns, approach optical abstraction carefully. The goal of viewing art is aesthetic experience, not a headache. Museums often provide benches at a respectful distance for pieces like Bridget Riley’s op art – sometimes sitting farther back reduces the strain and allows enjoyment of the overall pattern without the adverse effects. But if the physical symptoms persist, it’s perfectly fine to look away. Your brain’s comfort comes first.

In summary, self-awareness is key. Abstract art covers a vast range of styles and emotional timbres – from blissful and calming to wild and disorienting. Pay attention to your own responses. If a particular artist’s work consistently uplifts you or provokes intriguing thoughts, seek out more of it. Conversely, if you find a style of abstract art consistently leaves you anxious, flat, or disturbed, there is no requirement to subject yourself to it. Art appreciation is highly personal; as the saying goes in art therapy, “trust the process” – and part of that process is choosing what resonates positively with you.

Conclusion

Abstract art holds a unique power over the human psyche. Its psychological impact extends beyond the momentary pleasure of viewing colors and shapes – it can influence our emotional state, broaden our thinking, and even challenge our brain to grow. Scientific studies support what artists like Kandinsky and Malevich intuited over a century ago: by liberating art from literal representation, abstract art engages the mind’s inner depths. It invites an emotional dialogue (between the artwork and our feelings) and a cognitive adventure (as we derive personal meaning from the non-objective). As one Frontiers in Human Neuroscience paper concluded, abstract art “activates brain-states that are otherwise harder to access… enabling the exploration of yet undiscovered inner territories of the viewer’s brain.”​

In a world often dominated by concrete details and practical tasks, abstract art provides a valuable counterbalance – a space for imagination, reflection, and emotional authenticity.

For the general audience, enjoying abstract art does not require formal knowledge, only an open mind. You might start by simply observing how a given piece makes you feel and what it makes you think of. Over time, engaging with abstract art can heighten your color sensitivity, emotional awareness, and creative thinking. Popular books like Inner Vision by Semir Zeki (1999) and Reductionism in Art and Brain Science by Eric Kandel (2016) offer accessible insights into the science behind these experiences, bridging the gap between the gallery and the laboratory. And as neuroscience continues to study “your brain on art,” we are likely to discover even more about how abstract creations move us.

Ultimately, whether it’s the soul-stirring effect of a Kandinsky, the thought-provoking puzzle of a Pollock, or the calming presence of a Rothko, abstract art has a profound psychological richness. It is an arena where emotion and cognition meet: shapes and colors wordlessly speak to our hearts, while our minds dance among possibilities. Each viewer’s encounter with an abstract artwork is singular – a testament to the personal nature of art perception. Embracing that experience can be deeply rewarding. But if an abstract piece doesn’t speak to you or stirs up negativity, remember Malevich’s lesson: “Feeling is the decisive factor”​

You are free to find the art that does speak to your feeling and thought, for there lies the true impact of abstract art on the human psyche.

Sources:

• Vered Aviv (2014), Frontiers in Human Neuroscience – on how abstract art frees the brain from reality dominance​pmc.ncbi.nlm.nih.gov.
• Experiments on representational vs abstract art responses​pmc.ncbi.nlm.nih.gov​pmc.ncbi.nlm.nih.gov.
• Daphna Shohamy quoted in Cosmos/PNAS study on abstract art increasing psychological distance​freethink.com​freethink.com.
• W. Kandinsky, Concerning the Spiritual in Art – ideas on color’s emotional power​bookey.app​azquotes.com.
• K. Malevich, The Non-Objective World – quotes on pure feeling in art​en.wikiquote.org​en.wikiquote.org.
• Wagemans, J. & Walther, D. (2023), Anger is red, sadness is blue: Emotion depictions in abstract art – color/line associations with emotions​psychologytoday.com.
• Freedberg & Gallese (2007), Trends in Cognitive Sciences – on motion, emotion, and empathy in viewing art​scholarworks.wmich.edu.
• Eric Kandel, Reductionism in Art and Brain Science (2016) – discusses abstract art engaging imagination​nautil.us​neuroamer.com.
• Nautilus Magazine interview (2014) – why abstract art can evoke strong emotional and creative responses​nautil.us.
• Metropolitan Museum of Art descriptions – e.g. Rothko’s use of color to evoke joy vs brooding moods​metmuseum.org.
• Bhattacharya & Petsche (2002) – EEG study on associations and emotions in abstract art​pmc.ncbi.nlm.nih.gov.
• Salon (2013), “Your brain on art makes it hurt so good” – popular piece on abstract art and the brain​salon.com.
• Inner Vision: Art and the Brain (Semir Zeki, 1999), Your Brain on Art: How the Arts Transform Us (Magsamen & Ross, 2023), and The Art Instinct (Denis Dutton, 2009) for further reading on art’s psychological impact.