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Gardner refers to this period as the 'literal stage'. In an interesting series of studies Gardner suggests that children's precocious productions cannot be equated with more accomplished productions. These early productions are a result of the vast amount of experimenting that is characteristic of preschool children's intellectual capacity. They are not a result of mastery but are a reflection of the children's first encounters with the symbol systems of their culture. Gardner refers to this as a 'first draft of artistry'.
1984). Physiognomy and art: approaches from above, below and sideways. Visual Arts Research, in press. Machotka, P. (1983). Perception, psychology and the study of art. Paper presented at the British Psychological Society, Welsh Branch, International Conference on Psychology and the Arts, Cardiff. Marschalek, D. (1983). A review of basic cognitive processes and their relevance to understanding responses to works of art. Visual Arts Research, 9, 23-33. hlartindale, C. (1975). Romantic Progression: The Psychology of Literary History.
Finally, we would say that the study of cognitive processes should help to break down a compartmentalization in the investigation of art. Previously, emotional responses have been studied separately from cognitive aspects, and social psychological perspectives have been virtually disregarded. Now recent research within mainstream psychology -- research into cognition and affect, and into social cognition -- promises possibilities for more integrated theories of the perception of art. That is the hope for the future.