Artistic licence taps into the simplified physics used by our brain to recognize everyday scenes, says Patrick Cavanagh.
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CREDIT: ROGERS AND GWYNNE ANDREWS FUNDS, 1935 (35.121) PHOTOGRAPH © 1983 THE METROPOLITAN MUSEUM OF ART
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CREDIT: PURCHASE, J. PULITZER BEQUEST, 1929 (29.164) PHOTOGRAPH © 2004 THE METROPOLITAN MUSEUM OF ART
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CREDIT: G. KIENERK, FLORENCE
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CREDIT: ©BETTMANN/CORBIS
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CREDIT: ©DACS 2005 PHOTOGRAPH: C. SNEE FOR AGNSW
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CREDIT: THE ART ARCHIVE/MUSÉE DU LOUVRE PARIS/DAGLI ORTI
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CREDIT: COURTESY OF THE FOGG ART MUSEUM, HARVARD UNIVERSITY ART MUSEUMS, GIFT OF MR AND MRS J. H. HAZEN
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CREDIT: ©ADAGP, PARIS AND DACS, LONDON 2005
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CREDIT: LUNCH AT THE RESTAURANT FOURNAISE (THE ROWERS' LUNCH), PHOTOGRAPH BY R. HASHIMOTO, THE ART INSTITUTE OF CHICAGO
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CREDIT: THE ROKEBY VENUS BY VELASQUEZ/NATIONAL GALLERY, LONDON/HTTP://WWW.BRIDGEMAN.CO.UK
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Acknowledgements
I thank M. Bernson, E. Besancon, M. Carrio, A. Dietrich, H. Farid, L. Gay, A. Kiely, A. Lonyai, C. Pemberton, D. Wang and R. M. Shapley for their contributions to this work.
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Cavanagh, P. The artist as neuroscientist. Nature 434, 301–307 (2005). https://doi.org/10.1038/434301a
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DOI: https://doi.org/10.1038/434301a
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