Table 1. Results of the Principal Component Analysis.
Items and item parameters separated by PCA factors (with factor-loadings > .5) and post-hoc comparisons between fluency and mastery portraits.
| PCA factor | Item | Loading | M (SD) for Fluency portraits | M (SD) for Mastery portraits | Contrast |
|---|---|---|---|---|---|
| 1. Accessibility | Comprehensibility (comprehensible—incomprehensible) | -.702 | 2.73 (0.15) | 4.35 (0.16) | ** |
| Unambiguity (unambiguous—ambiguous) | -.697 | ||||
| Attractiveness (The sitter´s face is attractive) | -.692 | ||||
| Order (orderly—not orderly) | -.678 | ||||
| Realism (Compared to a real face this is a realistic mode of depiction) | .678 | ||||
| Abstraction (abstract—concrete) | .649 | ||||
| Determinacy (It is easy to decide on the sex of the sitter) | .644 | ||||
| Emotional clarity (The facial expression of an emotion is clearly determinable) | .582 | ||||
| Typicality (This portrait is typical compared to a classical portrait) | .579 | ||||
| Roundness (round—angular) | -.569 | ||||
| Liking (I like this portrait) | .569 | ||||
| 2. Cognitive stimulation | Idiosyncrasy (This portrait reflects an individual way of the artist to perceive single objects or the world as a whole) | 826 | 4.61 (0.26) | 7.06 (0.17) | ** |
| Expressiveness (This portrait is used by the artist to express his feelings or emotions) | .817 | ||||
| Intentionality (This portrait reflects specific beliefs and thoughts of the artist) | .795 | ||||
| Imagination (This portrait contains imaginations and phantasies of the artist) | .790 | ||||
| Interest (interesting—uninteresting) | -.636 | ||||
| Innovativeness (innovative—non-innovative) | -.519 | ||||
| Importance of style (stylistically salient—stylistically ordinary) | -.517 | ||||
| Atypicality (This portrait is unusual and extraordinary) | .514 | ||||
| 3. Zeitgeist | Aesthetic Norms (This portrait reflects aesthetic norms and conventions that characterize society and period at that time) | .832 | 6.26 (0.17) | 3.93 (0.24) | ** |
| Conventions (This portrait contains beliefs and stylistic conventions that characterize society and period at that time) | .810 | ||||
| 4. Stylistic components | Shapes (In this portrait shapes are of particular importance) | .779 | 5.32 (0.23) | 6.23 (0.15) | ** |
| Lines (In this portrait lines are of particular importance) | .748 | ||||
| Colours (In this portrait colours are of particular importance) | .635 | ||||
| 5. Affective valence | Tone (warm—cold) | -.720 | 3.34 (0.14) | 4.42 (0.09) | ** |
| Hue (sombre—bright) | .703 | ||||
| Mood (tense—calm) | .430 | ||||
| 6. Coping | Coping (I am able to deduce a deeper meaning from this portrait) | .819 | 2.90 (.30) | 3.24 (.28) | ns |
| Meaningfulness (This portrait contains a deeper meaning) | .646 | ||||
| Familiarity (I am familiar with this portrait or the artist) | .600 | ||||
| 7. Complexity | Richness of detail (contains many details—contains few details) | -.783 | 4.10 (.16) | 4.33 (.17) | ns |
| Simplicity (simple—complex) | .691 |
Note: Marker items are printed in italics
** significant differences at p < .0001.