By Martin S. Lindauer

Aging, Creativity and paintings: a good point of view on Late-LifeDevelopment explores the strengths and possibilities of previous age as those are manifested through the accomplishments of getting older artists, past due inventive works, and aged arts audiences. The booklet attracts on scholarship within the humanities, basically in artwork heritage; examines typically work and painters, either ancient and modern; experiences empirical learn on creativity and cognition, predominantly from psychology and gerontology; and provides the author's unique reviews, together with surveys of artwork historians, questionnaires accomplished via getting older artists and humanities audiences, and experiments regarding judgments of artwork via laypersons. The study provided in Aging,Creativity and paintings: a good viewpoint on Late-Life Development means that creativity keeps into the later years; higher-order psychological skills relating to creativity, like mind's eye and problem-solving, persist till overdue in lifestyles; and the elderly's actual, sensory, psychological, and interpersonal talents can be better by way of 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 equipment of quantification of technological know-how; the emphasis at the person within the humanities; and the expressive and intuitive modes of verbal exchange within the arts. Aging, Creativity and artwork: a favorable point of view onLate-Life Development severely examines the psychology of creativity, cognitive improvement, and gerontology, and may be of curiosity to a variety of pros and scholars in those fields.

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Baltes and his colleagues (1990) agreed. " [T]he empirical harvest is relatively small [for the] truly superior performances of older adults" (p. 64). For Kastenbaum (1991b), the paucity of research on late-life creativity arises from the overemphasis on indices that record the amount of work, rather than the more qualitative aspects of old age, su ch as its "creative spirit" (pp. 5-6). Consider, too , that late-life creativity occurs relatively infrequently, just as there are only a few old wise people (Clayton, 1975).

Nearly a third (70. or 31 %) lived to 79 or older (Lindauer, 1992. 1993 ; see also Chapter 13). Declines in abilities were not detected in a sample of 344 older Chinese painters (Silbergeld, 1987). Of 233 recognized masterpieces of art , about two third (76%) were by artists who lived to 60 or more (Chapter 7). A list of th e 1,000 most eminen t men who ever lived. compiled at the beginning of the 20th cen tury, included 17 artists. and of these , 13 (76%) died when they were over 60 (Cattell, 1903).

Richly textured personal opinions are framed by a single scholar within a highly individual analysis. The case study approach is similarly applied to other singular artists, writers, composers, and other exemplary artists and one or a few extraordinary examples of their work, depending on the scholar's particular thesis, in order to reach a conclusion distinguished from other scholars. The outcomes are interesting, sometimes fascinating, perhaps brilliant, and occasionally revolutionary. But from a scientist's point of view, scholarly conclusions based on a single individual and a handful of works are seriously limited.

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