What Women Show That Men Don’t Notice

Actually, the answer was the women’s faces about 80% of the time, with the remaining 20% split more or less evenly between the women’s bust lines and the products on sale at various price points. Surprised? You shouldn’t be. Faces reveal a lot, if you’re paying attention. For instance, in Nicole Tersigni’s book that pairs 17th-19thcentury paintings of men and women together alongside snarky, pointed captions, what are the women being portrayed in the paintings feeling as they listen to the men hold court?

When the topic is mansplaining, it’s often anger—perhaps due to men trying to control how the women should “see” the world. When the topic is men pretending to be concerned, it’s often contempt—perhaps due to the women not trusting that the men have their needs and wants most at heart. And when it’s men giving guidance regarding sex and deportment, it’s often fear—perhaps due to the women’s discomfort with having their private space violated by men making insinuating moves in their direction. Do the men in the paintings notice how the women are reacting? No, they don’t; instead, the men are mostly smiling—at ease, despite failing to comprehend, or perhaps enjoying that the women in their company feel uncomfortable.

Released today: episode #53 of “Dan Hill’s EQ Spotlight,” featuring Nicole Tersigni, the author of Men to Avoid in Art and LifeCheck out the audio link below to get oriented or click on here to get to the new episode.

Nicole Tersigni is a comedic writer experienced in improv comedy and women’s advocacy. She lives in metro Detroit with her husband, daughter, and two dogs. 

Image of New Books network and Dan Hill's EQ Spotlight podcast logo

Dan Hill, PhD, is the president of Sensory Logic, Inc.

For Portraits and Selfies: A Case of Monkey See, Monkey Not-Quite-Do

Portraits and Selfies Re-enactment of famous Art

Emotions can be as contagious as Covid-19, but that doesn’t mean the facial expressions are easy to capture when art devotees around the world use their imaginations in wonderful ways to recreate famous works of art at home. The Rijksmuseum in Amsterdam and the Getty Museum in Los Angeles have gotten into the act, encouraging art lovers to re-stage famous art works. https://www.smithsonianmag.com/smart-news/museum-asking-people-remake-famous-artworks-with-household-items-180974546/  But no entity has surpassed a Facebook group, started in Russia, that boasts over half a million art re-enactors. https://www.nytimes.com/2020/04/25/world/europe/russia-Facebook-art-parodies.html  If you’re a painter or photographer who does portrait work – or somebody who likes to pose for selfies and are interested in what your expressions reveal about your mood that day or your personality, over time – listen in. Here’s an opportunity to sharpen your skills or pose. For my book Famous Faces Decoded: A Guidebook for Reading Others, I surveyed participants on what they viewed as the signature, characteristic emotions of 173 celebrities. On average, they were right only about 35% of the time – meaning there’s no shame in failing to detect emotions well. Join the crowd. We’re all more likely to be Watson rather than Sherlock Holmes!

In terms of life imitating art, just how good are the re-enactors at capturing correct facial expressions? In truth pretty good, but not great. Above on the left side is “Salome” with the head of John the Baptist by the 17th-century Bolognese painter Guido Reni. On the right is that same painting’s recent staging by Aglaya Nikonorova and her husband, Alexander. What’s faithful to the original, in terms of the couple’s facial expressions? Both women have wide open eyes (anger, fear and surprise), pursed lips (anger) and a smirk on the left side of their mouths (contempt). So far, so good. But the original Salome also has a pouty, raised chin (indicating anger, sadness and disgust), whereas the imitation includes a raised left eyebrow, indicating an extra dose of fear and surprise. That difference is trifling, however, compared to John the Baptist’s head. In the original, the eyes are sunken in grief with a pool of wrinkles above them, and the eyebrows are raised, pushed out and pinched together above the nose. In the re-enactment John the Baptist appears to be taking a nap, with his face relaxed. Further reinforcing the difference, in the original John’s lips are slightly apart and pulled down, triggering the viewer to feel the horror of getting beheaded, and perhaps inducing a contagious tremble. In contrast, in the re-enactment John’s lips appear just as peaceful as his eyes. In short, it’s a matter of being close – but no cigar.

In simple terms, these are important take-aways about where and how people express their emotions on their faces whenever contemplating a portrait or selfie:

  • The upper face is the place for surprise and fear. When the eyes go wide and the eyebrows lift, we’re increasing our field of vision.
  • The area around the mouth reveals the like/dislike reactions best. Look for anger (tightening), disgust (contortions) or sadness (wincing especially).
  • The chin area never reveals any happiness. It’s best for wide-mouth surprise and fear, or a jutting chin for anger.

More re-enactments will be included in my virtual talk, sponsored by the Duluth Art Institute on Thursday, May 28that 3 p.m. The heart of the presentation, however, will be highlights from my recent art book First Blush: People’s Intuitive Reactions to Famous Art. It’s the biggest study ever done involving eye-tracking and art – plus facial coding of participants’ responses, in order to also know how they feel about what they’re specifically seeing. The event is free but you must register. Please go to https://www.duluthartinstitute.org/event-3843385/Registration