Naturalistic Faces and Faces in Paintings: An Overview

Faces are the most important social signal in our society. Nevertheless, there is a problem with faces: they are all made up of the same features in the same general order (the eyes are above the nose, which is above the mouth). To process faces one uses a special kind of processing, which is holistic, considering the integration of the face’s features and their relative distances. One may distinguish the recognition of known faces and the processing of unfamiliar faces. Face processing abilities may be lost due to either a lesion or developmental reasons, i.e., prosopagnosia. To further explore these reasons, one could consider pictorial representations of faces—such as faces in paintings. These are particularly interesting because different art styles differ in how realistic/distorted they are relative to real faces, which allows for exploring people’s sensitivity to face-likeness. In a way, individuals are not sensitive to face-likeness. In face matching part–whole tasks, performance does not differ across art styles. Still, individuals are not fully impervious to distortion: early markers of face processing (N170 component) are sensitive to face-likeness, with more realistic (vs. distorted) art styles eliciting responses more in line with those of real faces.