By Martin S. Lindauer

Aging, Creativity and paintings: a favorable standpoint on Late-LifeDevelopment explores the strengths and possibilities of outdated age as those are manifested by means of the accomplishments of getting older artists, overdue inventive works, and aged arts audiences. The booklet attracts on scholarship within the humanities, essentially in paintings historical past; examines quite often work and painters, either ancient and modern; experiences empirical learn on creativity and cognition, predominantly from psychology and gerontology; and offers the author's unique stories, together with surveys of paintings historians, questionnaires accomplished through getting older artists and humanities audiences, and experiments regarding judgments of artwork through laypersons. The examine offered in Aging,Creativity and paintings: a favorable standpoint on Late-Life Development means that creativity maintains into the later years; higher-order psychological skills on the topic of creativity, like mind's eye and problem-solving, persist until eventually overdue in existence; and the elderly's actual, sensory, psychological, and interpersonal potential can be more suitable through engagement with the humanities. This paintings interrelates the disciplines of technological know-how, the arts, and the humanities to shape a synthesis that builds at the strengths of the tools of quantification of technological know-how; the emphasis at the person within the humanities; and the expressive and intuitive modes of communique within the arts. Aging, Creativity and artwork: a favorable viewpoint onLate-Life Development severely examines the psychology of creativity, cognitive improvement, and gerontology, and may be of curiosity to a variety of execs and scholars in those fields.

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Research on creativity among the aged is also hampered by problems inherent in the study of old age in general. Resisting its study, too, are the difficulties inherent in the study of creativity at any age (Balin , 1994; Csikszentmihalyi, 1991; Romaniuk & Romaniuk, 1981; Simonton, 1999a). The status of the topic is indirectly reflected in the many texts and handbooks on aging and creativity, few of which include a section on late-life creativity, especially in the arts where it is compellingly illustrated (d.

What are We? Where Are We Going (1897) ; and Jasper Johns' The Seasons: Winter (1986) . In general, artists have depicted three or four stages of life : childhood, youth, maturity, and old age. Some, though, portrayed as many as 12. Irrespective of the number, the stages generally suggest two paths taken with age: linear, moving forward; or cyclical, with individuals returning to earlier periods as they aged. The stag es also differ in duration and complexity, which hints at similarities and differences between the old and the young, and the relative importance of each stage to one other.

More neutral are artists' depictions of "the ages (or stages) of man," essentially a longitudinal conception of aging (Hoffman, 1965; Sears & Feldman, 1973). Especially detailed was Cole's (1992) analysis of the stages of life in the major serial works of three artists: Thomas Cole's The Season of Life: Old Age (1842); Guiguin 's Where Do We Come From ? What are We? Where Are We Going (1897) ; and Jasper Johns' The Seasons: Winter (1986) . In general, artists have depicted three or four stages of life : childhood, youth, maturity, and old age.

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