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Existing theories of empathic response to visual art works postulate the primacy of automatic embodied reaction to images based on mirror neuron mechanisms. Arguing for a more inclusive concept of empathy-related response and integrating four distinct bodies of literature, we discuss contextual, and personal factors which modulate empathic response to depicted people. We then present an integrative model of empathy-related responses to depicted people in art works. The model predicts that the specific pattern of interaction between empathy-related and esthetic processing is co-determined by several sets of factors: i the viewer's individual characteristics, ii the context variables which include various modes of priming by narratives and other images , iii multidimensional features of the image, and iv aspects of a viewer's response.
Finally we propose that the model is implemented by the interaction of functionally connected brain networks involved in socio-cognitive and esthetic processing. Empathy-related phenomena occupy a central place in contemporary neuropsychology and social and affective neuroscience.
This research agenda, spurred both by the rapid spread of neuroimaging, and new conceptual models, has been accompanied in the past two decades by the rediscovery of empathy in the humanities, particularly in art history and theory and in film studies. It is increasingly evident that empathy-related issues offer the possibility for productive interfacing between the sciences of the mind and brain and the humanities. Within the humanities, the role of embodied meaning-making in pictorial and esthetic experience has been examined not only in more philosophical and theoretical writings e.
Scholars such as Leo Steinberg and Michael Fried have written rich and nuanced accounts of bodily projection and empathic engagements with works of art Steinberg, , ; Fried, Many works of visual art engage and facilitate complex emotional and empathic reactions, thereby potentially serving as a testing ground for such complex reactions in real-life situations. The best art-historical accounts of embodiment and emotional engagement with works of art, such as Steinberg's and Fried's, operate on the level of behavioral explanation and are firmly rooted in the phenomenology of their authors' viewing experience, without taking into consideration the current conceptualizations of emotional and empathic reactions.