He is widely known for focusing on the experiences and interpretations of artwork, and how they provide insight into peoples' lives.
He was less concerned with the cultural and social contexts of the experience of creating and viewing artwork.
Patricia Dinkelaker and John Fudjack have addressed the relationship between artists’ personality types and works of art; approaches to art as a reflection of functional preferences associated with personality type; and the function of art in society in light of personality theory.
Art is considered to be a subjective field, in which one composes and views artwork in unique ways that reflect one's experience, knowledge, preference, and emotions.
No matter how compelling the object is, it is up to the beholder to allow the existence of such an experience.
In the eyes of Gestalt psychologist Rudolf Arnheim, the aesthetic experience of art stresses the relationship between the whole object and its individual parts.
The Psychology of Art (1925) by Lev Vygotsky (1896–1934) is another classical work.
Richard Müller-Freienfels was another important early theorist.
Though the disciplinary foundations of art psychology were first developed in Germany, there were soon advocates, in psychology, the arts or in philosophy, pursuing their own variants in the USSR, England (Clive Bell and Herbert Read), France (André Malraux, Jean-Paul Weber, for example), and the US.
His Art as Experience was published in 1934, and was the basis for significant revisions in teaching practices whether in the kindergarten or in the university.