tempt of art as science was Hippolyte Taine, who proposed that styles of art should be studied in the same way as plants are studied by botanists, and are subject to the same evolutionary development. At the same time in Germany, the name Kunstwissenschaft was applied to the historical writings of Semper, Fiedler, Burckhardt, and Riegl. In their writings, they strove for neutrality in comparative analysis in order to avoid personal judgments of art, therefore evading any biased opinions in dealing with the newly classified science of . Kunstwissenschaft propelled more scientists , specifically G. T. Fechner to turn the definition of from philosophy of beauty to the empirical psychology and sociology for artistic creation and appreciation. His work emphasized the statistical study of individual aesthetic preferences for standardized types of object, such as rectangles. The subjects heart rate, visual reaction, and perspiration levels were monitored , thus giving proof of reaction to the standardized objects. After his death, Fechners work was carried out by C.W. Valentine in England, although is declined in activity due to more pressing matters during World War II. General psychology also provided a framework within which can focus its special studies on the creation and appreciation of art and related varieties of experience. It includes the unconscious and preconscious realms of human experience as revealed by depth psychology, with the light it throws on dreams and creative imagination. This consists of the evolutionary account of the human species with its innate perceptual, mental and affective functions, predispositions and aptitudes, especially mans power to learn and to accumulate culture. The most important contributors to the general psychology of were Freud, Jung, and most notably, K. Koffkas and his writing, Problems in the Psychology of Art. Early in the 20th century, Max Dessoir, professor at the University o...
