雷尼·雨格认为艺术心理学是一个结合点,是不同学科的汇集中心。在他看来,艺术是未来的一种经验,而科学只研究现存的东西。他的《和物质世界对话》总结了自己在博物馆学方面的经验,《艺术和人》把这经验运用于整个艺术史和人类史,《艺术和灵魂》则把在广度上研究过的再在深度上进行研究。依波利特·泰纳的方法在于承认一件作品不是孤立的,因而必须找出作品所隶属的而且能够解释它的完整部分。他建立一条原则:要理解一部艺术作品,必须相当正确地理解作品所属时代的精神和风俗。半世纪以来在美学和艺术上,形式的问题超过其他问题占据了主要的地位。过去几世纪中发展了静的形式和动的轮廓两种概念。目前我们的文明却要求新的形式,于是出现了由圆锥曲线所产生的形式以及建筑方面采取的函数曲线的形式。而形式的变化则与理性能力消失相合。现代画家希望借助于“创作”来理解“人生”;艺术在这种情况下就变成了魔术,可以和宗教竞争。这样的艺术必然是排斥真实的,艺术家就强迫哲学家或心理学家修正关于人的观念。 René Unger thinks art psychology is a combination of points, is a collection of different disciplines. In his view, art is an experience of the future, and science studies only what exists. His “Dialogue with the Material World” summarizes his own experience in the field of museum science. “Art and humanity” apply this experience to the entire history of art and human history. “Art and soul” Depth research. Epiterner’s approach is to admit that a work is not isolated and thus must find out what the work belongs to and be able to explain the complete part of it. He established the principle that to understand a work of art it is necessary to understand fairly correctly the spirit and customs of the era to which the work belongs. For the past half century in aesthetics and art, formal problems dominate over other issues. Over the past few centuries have developed two concepts of static forms and moving outlines. At present, our civilization requires a new form, resulting in the form produced by the conic and the form of the function curve taken by the building. The change of form is consistent with the disappearance of rational ability. Modern painters hope to understand “life” by means of “creation”; in this case art becomes a magic that competes with religion. Such art must necessarily exclude reality, and artists force philosophers or psychologists to correct their notions of human beings.