Color plays an essential role in everyday life and is one of the most important visual cues in human perception. In abstract art, color is one of the essential means to convey the artist's intention and to affect the viewer emotionally. However, colors are rarely experienced in isolation, rather, they are usually presented together with other colors. In fact, the expressive properties of two-color combinations have been extensively studied by artists. It is intriguing to try to understand how color combinations in abstract paintings might affect the viewer emotionally, and to investigate if a computer algorithm can learn this mechanism.

When artists express their feelings through the artworks they create, it is believed that the resulting works transform into objects with “emotions” capable of conveying the artists' mood to the audience. There is little to no dispute about this belief: Regardless of the artwork, genre, time, and origin of creation, people from different backgrounds are able to read the emotional messages. This holds true even for the most abstract paintings. Could this idea be applied to machines as well? Can machines learn what makes a work of art “emotional”? In this work, we employ a state-of-the-art recognition system to learn which statistical patterns are associated with positive and negative emotions on two different datasets that comprise professional and amateur abstract artworks. Moreover, we analyze and compare two different annotation methods in order to establish the ground truth of positive and negative emotions in abstract art. Additionally, we use computer vision techniques to quantify which parts of a painting evoke positive and negative emotions. We also demonstrate how the quantification of evidence for positive and negative emotions can be used to predict which parts of a painting people prefer to focus on. This method opens new opportunities of research on why a specific painting is perceived as emotional at global and local scales.

A novel approach to the emotion classification of abstract paintings is proposed. Based on a user study, we employ computer vision techniques to understand what makes an abstract artwork emotional. Our aim is to identify and quantify which are the emotional regions of abstract paintings, as well as the role of each feature (colour, shapes and texture) on the human emotional response. In addition, we investigate the link between the detected emotional content and the way people look at abstract paintings by using eye-tracking recordings. A bottom-up saliency model was applied to compare with eye-tracking in order to predict the emotional salient regions of abstract paintings. In future, we aim to extract metadata associated to the paintings (e.g., title, keywords, textual description, etc.) in order to correlate it with the emotional responses of the paintings. This research opens opportunity to understand why a specific painting is perceived as emotional on global and local scales.

Most artworks are explicitly created to evoke a strong emotional response. During the centuries there were several art movements which employed different techniques to achieve emotional expressions conveyed by artworks. Yet people were always consistently able to read the emotional messages even from the most abstract paintings. Can a machine learn what makes an artwork emotional? In this work, we consider a set of 500 abstract paintings from Museum of Modern and Contemporary Art of Trento and Rovereto (MART), where each painting was scored as carrying a positive or negative response on a Likert scale of 1-7. We employ a state-of-the-art recognition system to learn which statistical patterns are associated with positive and negative emotions. Additionally, we dissect the classification machinery to determine which parts of an image evokes what emotions. This opens new opportunities to research why a specific painting is perceived as emotional. We also demonstrate how quantification of evidence for positive and negative emotions can be used to predict the way in which people observe paintings.