{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/69061"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/69061","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Art Trained and Non-Art Trained Subjects' Classifications and Evaluations of Visual Structure in Nonobjective Art","abstract":"The purpose of this research was to ascertain any impact of training in the visual arts on subjects' perceptions of visual structure as a stylistic attribute among various forms of nonobjective paintings. The population of subjects was evenly divided between graduate students majoring in art education and undergraduate elementary education majors. The slides of the paintings viewed by these subjects represent Western nonobjective painting between 1900 and 1983, and have been categorized by art professionals into groupings based on their similarity of visual structure. Nine categories with ten hierarchically ranked slides in each compose the stimulus set in which Amorphous, Geometric and Organic conceptions of visual structure were evident. Subjects' responses to these stimuli were measured using ratings on semantic differential scales and a free and exemplar classification task.","abstract_html":"The purpose of this research was to ascertain any impact of training in the visual arts on subjects' perceptions of visual structure as a stylistic attribute among various forms of nonobjective paintings. The population of subjects was evenly divided between graduate students majoring in art education and undergraduate elementary education majors. The slides of the paintings viewed by these subjects represent Western nonobjective painting between 1900 and 1983, and have been categorized by art professionals into groupings based on their similarity of visual structure. Nine categories with ten hierarchically ranked slides in each compose the stimulus set in which Amorphous, Geometric and Organic conceptions of visual structure were evident. Subjects' responses to these stimuli were measured using ratings on semantic differential scales and a free and exemplar classification task.","abstract_has_math":false,"creators":["Hoard, Adrienne Walker"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Educat.D.","degree_level":"Dissertation","degree_discipline":"Education","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-12-15T18:50:58Z","date_published":"2014-12-15T18:50:58Z","updated_at":"2026-07-22T22:26:00Z","subjects":["Education, Art"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(UMI)AAI8623321"],"render_values":[{"text":"(UMI)AAI8623321","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/69061","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Hoard, Adrienne Walker"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2014-12-15T18:50:58Z","10000-01-01","1986"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Education"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Educat.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Education, Art"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/69061","(UMI)AAI8623321"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The purpose of this research was to ascertain any impact of training in the visual arts on subjects' perceptions of visual structure as a stylistic attribute among various forms of nonobjective paintings. The population of subjects was evenly divided between graduate students majoring in art education and undergraduate elementary education majors. The slides of the paintings viewed by these subjects represent Western nonobjective painting between 1900 and 1983, and have been categorized by art professionals into groupings based on their similarity of visual structure. Nine categories with ten hierarchically ranked slides in each compose the stimulus set in which Amorphous, Geometric and Organic conceptions of visual structure were evident. Subjects' responses to these stimuli were measured using ratings on semantic differential scales and a free and exemplar classification task.","The results of the study were: (a) visual structure as an isolated stylistic attribute of this stimulus set of nonobjective paintings has been shown to be a salient feature along which such works of art may be judged similar and classified into categories, as evidence by both training groups under each sorting condition classifying groupings of the 90 stimuli that significantly resembled the expert classification; (b) the impact of art training is presented in the scalar patterns of response in which art trained subjects consistently view the nonobjective stimuli more intensely polar in terms of dynamic, beautiful, good, meaningful and ordered than did non-art trained subjects; and (c) the nonobjective stimuli in one category typified by Amorphous visual structure were the most significantly rated and most significantly well-sorted by both training groups across sorting conditions.","The major contribution of this research was the construction of this stimulus set of nonobjective paintings which isolates a stylistic attribute and in themselves serve as a test of visual structure.","Made available in DSpace on 2014-12-15T18:50:58Z (GMT). No. of bitstreams: 1 8623321.pdf: 3627050 bytes, checksum: cd4b460c5c54b8fa24563421f69317a4 (MD5) Previous issue date: 1986","Embargo set by: Seth Robbins for item 69227 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","116 p.","Thesis (Educat.D.)--University of Illinois at Urbana-Champaign, 1986."]},{"key":"dc:title","label":"Title","values":["Art Trained and Non-Art Trained Subjects' Classifications and Evaluations of Visual Structure in Nonobjective Art"]}]}],"canonical_facts":{"dc:creator":["Hoard, Adrienne Walker"],"dc:date":["2014-12-15T18:50:58Z","10000-01-01","1986"],"dc:description":["The purpose of this research was to ascertain any impact of training in the visual arts on subjects' perceptions of visual structure as a stylistic attribute among various forms of nonobjective paintings. The population of subjects was evenly divided between graduate students majoring in art education and undergraduate elementary education majors. The slides of the paintings viewed by these subjects represent Western nonobjective painting between 1900 and 1983, and have been categorized by art professionals into groupings based on their similarity of visual structure. Nine categories with ten hierarchically ranked slides in each compose the stimulus set in which Amorphous, Geometric and Organic conceptions of visual structure were evident. Subjects' responses to these stimuli were measured using ratings on semantic differential scales and a free and exemplar classification task.","The results of the study were: (a) visual structure as an isolated stylistic attribute of this stimulus set of nonobjective paintings has been shown to be a salient feature along which such works of art may be judged similar and classified into categories, as evidence by both training groups under each sorting condition classifying groupings of the 90 stimuli that significantly resembled the expert classification; (b) the impact of art training is presented in the scalar patterns of response in which art trained subjects consistently view the nonobjective stimuli more intensely polar in terms of dynamic, beautiful, good, meaningful and ordered than did non-art trained subjects; and (c) the nonobjective stimuli in one category typified by Amorphous visual structure were the most significantly rated and most significantly well-sorted by both training groups across sorting conditions.","The major contribution of this research was the construction of this stimulus set of nonobjective paintings which isolates a stylistic attribute and in themselves serve as a test of visual structure.","Made available in DSpace on 2014-12-15T18:50:58Z (GMT). No. of bitstreams: 1 8623321.pdf: 3627050 bytes, checksum: cd4b460c5c54b8fa24563421f69317a4 (MD5) Previous issue date: 1986","Embargo set by: Seth Robbins for item 69227 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","116 p.","Thesis (Educat.D.)--University of Illinois at Urbana-Champaign, 1986."],"dc:identifier":["http://hdl.handle.net/2142/69061","(UMI)AAI8623321"],"dc:subject":["Education, Art"],"dc:title":["Art Trained and Non-Art Trained Subjects' Classifications and Evaluations of Visual Structure in Nonobjective Art"],"dc:type":["text"],"thesis:degree_discipline":["Education"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["Educat.D."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:26:00Z"}