Discussing Art with Older Adults

National Art Education Association

Discussing Art with Older AdultsAuthor(s): Heta KauppinenSource: Art Education, Vol. 41, No. 6 (Nov., 1988), pp. 14-19Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3193085 .

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A & * I * Ap

Discussing Art with

Old e Heta Kauppinen

Nicolaes Maes, Old Woman in Prayer, known as Prayer Without End, 1655. Canvas, 134 x 113 cm. Rijksmuseum-Stichting,

Amsterdam, The Netherlands. Reproduced with permission of the Rijksmuseum- Stichting.

14 Art Education/November 1988

rAdults



Acolorful advertisement for a rice dish in a popular magazine presents a full page reproduction of

Nicolaes Maes' handsome painting Old Woman Saying Grace (1655, Ri jks Museum, Amsterdam). Maes portrayed the old woman in prayer before a meal. The meal is beautifully set on a white linen cloth. It includes bread, a bowl of soup, a fillet of fish, cheese, and a pepper. "But where is the side dish?" asks the advertiser. The text beside the picture says: "Before savory Classics, a delicious side dish in 10 minutes took a miracle," suggesting that the old woman prays for a miracle to provide a side dish for her meal. The appearance of Maes' masterpiece in the commercial, rather trivializing context can play on and reinforce ideas that older people may have poor mental abilities, or that they may be preoccupied by trivial matters - common stereotypes about old age (Butler, 1978; Freedom, 1978; Hendricks and Davis Hendricks, 1977). Maes intended to portray just the opposite in his work. The symbolism of bountiful details expresses mental resources of advanced age such as wisdom, an abundance of life's experience, and the insight it can bring. The dignity and genuineness of the material setting convey the ways old age weighs life's values. The old woman's intense expression and concentrated pose portray deeply felt spiritual meditation. Her enlightened face further expresses the central theme of Maes' work- the dominance of the mental and spiritual in old age (McKee and Kauppinen, 1987). Besides Maes, other masters who have explored the dominance of mental and spiritual values in older people's lives include Leonardo, Velazquez, Ghirlan- daio, Rubens, Diirer, La Tour, Degas, Daumier, Picasso, and others (McKee & Kauppinen, 1987). Rembrandt devoted many of his most memorable works to this theme. Master artists' persistent belief in this important aspect of old age has been confirmed by recent studies in gerontology. Most elderly people have a need for mental and spiritual experience (Clayton and Birren, 1980; Erikson and Erikson, 1978). They wish to delve into life-enriching areas of learning, such as the arts, that were of necessity bypassed

in the pressures and commitments of the middle stages of life (Erikson and Erikson, 1978; Butler, 1978).

Greenberg (1987) sees visual arts as an important field older adults can explore for their mental and spiritual contentment. This article examines how older people respond to art. First, we will examine mental abilities developed in advanced age which would be helpful in developing art appreciation in older adults. Second, we look into the cultural experience of older people and its implications for their ways of respond- ing to art. Third, we will explore how older people's mental abilities and cultural experience can be considered in their art appreciation.

Special Abilities in Older Adults Mental development in advanced age can give older adults special abilities. Two of these are the insight of life review and integrative understanding. These special mental abilities can play an important role in the older individ- ual's understanding of art and respond- ing to it.

The insight of life review is an outcome of reminiscence in the mental activity of older people (Butler, 1963; Merriam, 1980; Erikson and Erikson, 1978). Life review is a looking back process in which the content of one's life unfolds in memories. Modem gerontology conceives life review as a natural, universally experienced stage of personality development in which past experiences and unresolved conflicts return to consciousness for reexamination and final evaluation. The onset of life review shows itself in various ways. It may begin in stray and seemingly insignificant thoughts about oneself and one's life story. It may continue quietly in mild nostalgia without dramatic manifestations. In some cases it includes the sudden and vivid return of earlier experiences to memory and active exploration of the past. Often life review is manifested in the familiar tendency of aging people to talk about their past. A successful life review can result in integration, serenity, and wisdom. On the other hand, reminiscence can leave the ambivalence of unresolved conflicts and guilt. The activity of life review, regardless of its

"The old woman's intense expression and concentrated pose portray deeply felt spiritual meditation. Her enlightened face further expresses the central theme of Maes' work - the dominance of the mental and spiritual in old age."

Art Education/November 1988 15



Photo courtesy of Jean Ellen Jones

outcomes, is necessary for successful aging and meaningful mature years.

Another mental power in old age integrative understanding - is the

ability to understand and reconcile the tensions between opposite values (Clayton and Birren, 1980; Warner Schaie, 1977-78; Lewinson, 1978). Such conflicts include tensions between freedom and restraint, love and detach- ment, sickness and health, war and peace, life and death, and others. Young and middle aged people tend to see these as contradictory. But older people may comprehend that value conflict and opposites make for a meaningful life.

Older Adults' Cuttural Experience Another special characteristic older people bring to their art appreciation is their cultural experience. While some are culturally literate and knowledge- able in art, many of them have little or no preparation for understanding art (Jefferson, 1987). Two-thirds of the aged have never visited a gallery, museum, or art show; nor have they received meaningful education in art at any time during their lives (Hendricks and Davis Hendricks, 1977). These older people are naive beholders whose knowledge about art is minimal and who cannot talk about art in a sophisti-

cated manner (Glassie, 1972; Horwitz, 1975). However, these older individuals can respond to art from their cultural experience. Panofsky (1955) argues that there is no such thing as an entirely naive beholder. When naive beholders enjoy, appraise, and interpret art, their cultural experience augments the object of their experience. Wolfflin (1963) considers people's cultural experience as essential in the formulation of styles and forms in art. For example, if the design of a Gothic cathedral was not appreciated at the layman level, its appearance would have been different. Thus naive beholders respond to art from their cultural experience, including encounters with art in the environment. From that experience older adults pass cultural forms on to next generations and have the potential and willingness to share their experience including that of art with others. (Ortega y Gasset, 1961; Levinson, 1978; McKee and Kauppinen, 1987). Levels of Meanings in Art Works For a purposeful study of art Panofsky (1955) developed a synoptical table which reflects both naive and sophisticated approaches. It indicates three levels of meanings in art works: factual subject matter; symbols and literary themes; and metaphorical values. The

factual subject matter consists of the world of motifs in art, is re-created by describing, and requires familiarity with objects and events. The second level of meanings in art works - symbols and literary themes - constitutes iconographical analysis. It requires knowledge of literary sources and familiarity with specific symbols and themes whether acquired by purposeful reading or by oral tradition. The third level of meaning in art works - metaphorical values - constitutes iconological interpretation. It requires understanding

of essential tendencies of the human mind, expressed in the term "Weltan- schauung," view of the world. It calls for a mental process in which various significant meanings in an art work are identified and brought together for the interpretation of the human purpose and values in an art work.

The ways of interpreting the three levels of meanings in art works can be studied for instance in Martin Schon- gauer's Holy Family (1474-80, Art History Museum, Vienna). Thefactual subject matter includes a mother and a child leaning on her arm. The child watches his mother pick grapes from a bunch of grapes in her hand. An old man holding a bundle of corn gazes at them. An ox and ass indicate an animal shed. The mother has a book on her lap, and on the floor we see a cane and a basket of grapes. A wine pitcher sits on a shelf.

The iconographical interpretation of Schongauer's work based on conven- tional Christian symbols (Cirlot, 1971; Hall, 1974) presents the biblical story of the Holy Family. A triangle composition points out Virgin Mary and the Child, St. Joseph, and the ox and ass. The ox and ass refer to pagan religions, while grapes symbolize the eucharistic wine. The wine pitcher refers to the suffering of the Virgin and Child on Calvary. The book symbolizes learning and the authorship of God as well as the history of events - the Virgin reads a book at the Annunciation. The cane and basket of grapes allude to the Flight to Egypt and the massacre in Bethlehem. The synthesis of various symbols can narrate events in the life of the Holy Family. An interpretation may refer to the resolution of religious conflicts and




Martin Schongauer, Holy Family (1474-80), Art History Museum, Vienna, Austria.

Reproduced with permission of the Art History Museum.




salvation through Christianity (McKee and Kauppinen, 1987).

The iconological interpretation looks for the possibilities of meanings in- herent in the work to discover its human significance.

A layman unfamiliar with the biblical content may identify three generations in Schongauer's Nativity. The composition's grand diagonal connects the three ages - childhood, adulthood, and old age with the images of the cane and basket of grapes. The cane may refer to the quest in our lives, and the basket of grapes represents experience and learning harvested. The book stands for study and knowledge needed in life, while the ox and ass allude to strength and patience. The old man holds the sheaf as a symbol of maturity. The iconology may refer to human growth and endurance required for achievement of mental and spiritual maturity. The scene expresses the importance of gen- erational exchange and the contribution of elders to the young. There is unity of interests between generations and equilibrium achieved through the harmony between them. Older Adults' Abilities to Discuss Art Because of their mental abilities and cultural background and experience, elderly beholders respond to art in specific ways and need appropriate guidance for their interpretation. In describing the factual subject matter, any normal older person possesses the practical experience of the world to identify motifs or to understand such descriptions. In fact an aged beholder can be superior to younger ones in recognizing historic objects and things, or motifs from other cultures. When literary sources are. needed for identifi- cation, the instructor can provide information.

The iconographical interpretation of symbols and literary themes is a special field in art historical study (Panofsky, 1955). To interpret successfully, or to enjoy an interpretation at the iconographic level, requires knowledge of literary meanings in the subject matter. Although many aged beholders are familiar with biblical stories, events from history, and myths, they may need information about specific symbols and themes. To consider various symbols

Photo courtesy of Jean Ellen Jones. From Teaching Art to Older Adults: Guidelines and Lessons by Jean Ellen Jones.

for an interpretation, older adults can benefit from their ability for integrative understanding. For example, when analyzing Schongauer's Nativity scene, they can consider the conflict between the beastial and pagan images and the Christian symbols and synthesize them into common Christian ideas. Or they can understand and enjoy the iconographic interpretation of various symbols through their integrative understanding.

The iconographic interpretation may include the historic background of the art work and examining formal aspects.

The iconological interpretation examining metaphorical values - requires mental abilities which, as Panofsky (1955) claims, may be better developed in a talented layman than in an erudite scholar. Both naive and sophisticated aged beholders have advantage over young beholders in their


I



ability for iconological interpretation. Their long experience of life has given them the requisite understanding of human values and the world around themselves to discuss an art work at the level of life's universal experiences. The insight of life review helps older persons to identify meanings in the subject matter essential in life and significant for discovery of the human thought and aims in an art work. Aged beholders can relate the subject matter to experiences in their own lives as they reminiscence, and can understand underlying meanings in the subject matter in relation to their own resolu- tions of life's conflicts and problems. The aged beholder's integrative understanding helps to translate and combine conflicting meanings in the subject matter. For instance, in Schongauer's scene, the Virgin's playfully picking grapes for the Child's amusement contrasts with the images of the ox and ass related to work and patience. Aged beholders can integrate these conflicting concepts to express the idea of endurance needed in human growth towards the wisdom in old age, as seen in the image of St. Joseph. Or among the opposing symbols, they can understand the secular meaning of the wine pitcher as an expression of the importance of joy and pleasure.

For discussing art with older individuals, dimensions other than art experience can be considered. One is learning about aging through art works which portray old age (Kauppinen, 1987). Many theoretical ideas of social gerontology such as life style in old age, achievement of wisdom, intergenera- tional exchange, the elderly integrated or segregated in the society, or grand- parenting can be illuminated through artistic interpretations (McKee and Kauppinen, 1987). Another dimension is the older person's opportunity to explore unresolved issues of life review. When an aged beholder contemplates an art work, life review may enter in mild nostalgia. This can enrich the experience and give insight in the ongoing life review. Sometimes an art work can bring a vivid return of an earlier life experience to memory and activate the exploration of past. In discussion, other persons' notions and the aged beholder's

own deliberation can lead to valuable insight in an unresolved problem of life review and bring it to resolution and final judgment.

Panofsky's (1955) method for analyzing art works is useful in discussion with older adults because it em- phasizes insight into human purposes in art and integration of themes into universal human experience - abilities well developed in advanced age. Panofsky's method can be used in heterogeneous groups because it considers both naive and sophisticated approaches to art. In this respect Panofsky reflects Tolstoy's (1898) view that the highest art has always been comprehensible to ordinary people. Panofsky's method includes analyzing historic and formal aspects of art in the iconographic interpretation and thus provides opportunities for learning in those areas. The essential values of the humanities, as Hardison (1972) expressed them, can guide the discussion through "the spiritual values of freedom, dignity and beauty, and the critical values of openness, toleration, and a measured scepticism of all dogmas." (p. xxiv). D

Heta Kauppinen is Assistant Professor of Art Education at The University of Georgia, Athens, Georgia.

References

Butler, R. (1978). Afterword: Humanistic perspectives in gerontology. In S.F. Spicker, K.M. Woodward and D.D. Van Tassel (Eds.) Aging and the elderly, humanistic perspectives in gerontology (pp. 389-391). New Jersey: Humanities Press, Inc.

Butler, R. (1963). The life review: An interpretation of reminiscence in the aged. Psychiatry, 26 (4), 13-23.

Cirlot, J.E. (1962) A dictionary of symbols. New York: Vail-Ballou Press, Inc.

Clayton, V. & Birren, J. (1980) The development of wisdom across the lifespan: A reexamination of an ancient topic. In P. Baltes and 0. Brim (Eds.). Life span development and behavior, Vol 3. (pp. 104-132). New York; Norton.

Erikson, H. & Erikson J. M. (1978) Reflections on aging. In S. F. Spicker, K. M. Woodward and D. D. Van Tassel (Eds.). Aging and the elderly, humanistic perspectives in gerontology (pp. 1-9). New Jersey: Humanities Press, Inc.

Freedom, R: (1978) Sufficiently decayed: Gerontofobia in English literature. In S.F. Spicker, K.M. Woodward and D.D. Van Tassel (Eds.) Aging and the elderly, humanistic perspectives in gerontology (pp. 49-62). New Jersey: Humanities Press, Inc.

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Greenberg, P. (1987) Introduction, Art Education, 40 (4) 6-8.

Hall, J. (1979) Dictionary of subjects and symbols in art. New York: Harper and Row Publishers.

Hendricks, J. & Davis Hendricks, C. (1977). Aging in mass society. Cambridge, Massachu- setts: Winthrop Publishers, Inc.

Horwitz, E. L. (1975). Contemporary American folk artists. Philadelphia: J. B. Lippincott.

Jefferson, M. (1987) Essentials: Adult education programs in visual arts. Art Education, 40 (4), 33-43.

Kauppinen, H. (1987) Aging as a theme in art and education. Art education, 40 (4), 43-58.

Levinson, D. (1987). The seasons of man's life. New York: Ballantine Books.

McKee, P. & Kauppinen, H. (1987). The Art of aging: A celebration of old age in Western art. New York: Human Sciences Press, Inc.

Merriam, S. (1980) The concept and function of reminiscence: A review of the research. The gerontologist, 20 (5), 23-28.

Ortega y Gasset (1958). Man and crisis. New York: Norton.

Panofsky, E. (1955) Meaning in the visual arts. Garden City, New York: Doubleday & Company, Inc.

Wamer Schaie, K. (1977-78) Toward a stage theory of adult cognitive development. The International Journal of Aging and Human Development, 8, 28-29.

Wolfflin, H. (1963) Kunstgeschichtliche Grundbegriffe. Basel: Schwabe & Co. Verlag.

Tolstoy, L. (1898). What is art? New York: The Thomas Y. Crowell Co.

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