If you wander through New York’s Museum of Modern Art, you’ll eventually come across
Painting Number 2 by Franz Kline, a set of thick, unruly black lines on a white canvas. Elsewhere, you will find one of
Mark Rothko’s many untitled works, consisting of various coloured rectangles. And in front of both paintings, you will inevitably find visitors saying, “A child could paint that.”
To which
Angelina Hawley-Dolan and
Ellen Winner replied: “Could they?”
To find out, Hawley-Dolan and Winner asked 32 art students and 40 psychology students to compare pairs of paintings. One piece of each pair was the work of a recognised artist, such as Kline, Rothko, Cy Twombly, Gillian Ayre, and more. The other came from the oeuvre of lesser-known painters, including preschool children, elephants, chimps, gorillas and monkeys. The paintings were matched according to colour, line quality, brushstroke and medium; the students had to say which they preferred and which was better.
Both groups of students preferred the professional pieces to the amateur ones, and judged them to be superior. Even the psychology students, who had no background in art education, felt the same way, although as you might expect, their preference for the professional works was slightly weaker.
Throughout the experiments, the students typically picked the professional pieces between 60% and 70% of the time. These aren’t overwhelming majorities, but they were statistically significant. On average, a child could
not “paint that”, even if first glances might suggest otherwise. Nor are the qualities of the abstract art only visible to people steeped in the art world – even untrained people responded to the paintings in some way.
Hawley-Dolan and Winner also found that it didn’t matter if the students were duped into thinking that the paintings came from the wrong “artist”. The duo labelled the pairs of paintings on some of the tests (“artist”, “child”, “monkey” or “elephant”) and mislabelled them on others. Even with these tags, the students still preferred the actual professional painting. The labels only swayed the decisions of the psychology students – they were
more likely to judge the professional paintings more positively if they were correctly labelled (but not more harshly if the labels were swapped).