Eric R. Kandel is University Professor Emeritus and professor emeritus of physiology and cellular biophysics, psychiatry, biochemistry, molecular biophysics, and neuroscience at Columbia University. He is founding codirector of Columbia University’s Zuckerman Institute, founding director of Columbia’s Kavli Institute for Brain Science, and Sagol Professor Emeritus of Brain Science at the Zuckerman Institute. He was also a senior investigator at the Howard Hughes Medical Institute from 1984 to 2022. In 2000, Kandel was awarded the Nobel Prize in Physiology or Medicine for his studies of learning and memory. He has been awarded twenty-four honorary degrees. Kandel is the author of In Search of Memory: The Emergence of a New Science of Mind (2006), The Age of Insight: The Quest to Understand the Unconscious in Art, Mind and Brain, from Vienna 1900 to the Present (2012), Reductionism in Art and Brain Science: Bridging the Two Cultures (Columbia, 2016), The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018), and There Is Life After the Nobel Prize (Columbia, 2022). He is also a coauthor of Principles of Neural Science (2021), the standard textbook in the field of neuroscience.

Anything Eric R. Kandel says about neuroscience or the relationship between art and neuroscience is noteworthy. He is not only brilliant at explaining difficult and complex scientific ideas and data in simple language but also well-informed about—and sympathetic to—twentieth-century art, and avails himself of an impressive range of art-historical literature.

• Preface1. The Productive Interaction of Christians and Jews That Led to the Creation of Modernism in Vienna 19002. Empathy and the Uncertainties of Being in the Paintings of Chaim Soutine: A Beholder’s Perspective3. Competing Influences That Gave Rise to the Modern Representation of Women4. Portraiture and the Beholder’s Share: A Brain Science Perspective5. The Cubist Challenge to the Beholder’s Share6. Comparison of Sculpture and Painting7. The Beholder’s Response to Abstract and Figurative ArtNotesIndex

Eric R. Kandel is University Professor Emeritus and professor emeritus of physiology and cellular biophysics, psychiatry, biochemistry, molecular biophysics, and neuroscience at Columbia University. He is founding codirector of Columbia University’s Zuckerman Institute, founding director of Columbia’s Kavli Institute for Brain Science, and Sagol Professor Emeritus of Brain Science at the Zuckerman Institute. He was also a senior investigator at the Howard Hughes Medical Institute from 1984 to 2022. In 2000, Kandel was awarded the Nobel Prize in Physiology or Medicine for his studies of learning and memory. He has been awarded twenty-four honorary degrees. Kandel is the author of In Search of Memory: The Emergence of a New Science of Mind (2006), The Age of Insight: The Quest to Understand the Unconscious in Art, Mind and Brain, from Vienna 1900 to the Present (2012), Reductionism in Art and Brain Science: Bridging the Two Cultures (Columbia, 2016), The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018), and There Is Life After the Nobel Prize (Columbia, 2022). He is also a coauthor of Principles of Neural Science (2021), the standard textbook in the field of neuroscience.

Anything Eric R. Kandel says about neuroscience or the relationship between art and neuroscience is noteworthy. He is not only brilliant at explaining difficult and complex scientific ideas and data in simple language but also well-informed about—and sympathetic to—twentieth-century art, and avails himself of an impressive range of art-historical literature.

• Preface1. The Productive Interaction of Christians and Jews That Led to the Creation of Modernism in Vienna 19002. Empathy and the Uncertainties of Being in the Paintings of Chaim Soutine: A Beholder’s Perspective3. Competing Influences That Gave Rise to the Modern Representation of Women4. Portraiture and the Beholder’s Share: A Brain Science Perspective5. The Cubist Challenge to the Beholder’s Share6. Comparison of Sculpture and Painting7. The Beholder’s Response to Abstract and Figurative ArtNotesIndex

Eric R. Kandel is University Professor Emeritus and professor emeritus of physiology and cellular biophysics, psychiatry, biochemistry, molecular biophysics, and neuroscience at Columbia University. He is founding codirector of Columbia University’s Zuckerman Institute, founding director of Columbia’s Kavli Institute for Brain Science, and Sagol Professor Emeritus of Brain Science at the Zuckerman Institute. He was also a senior investigator at the Howard Hughes Medical Institute from 1984 to 2022. In 2000, Kandel was awarded the Nobel Prize in Physiology or Medicine for his studies of learning and memory. He has been awarded twenty-four honorary degrees. Kandel is the author of In Search of Memory: The Emergence of a New Science of Mind (2006), The Age of Insight: The Quest to Understand the Unconscious in Art, Mind and Brain, from Vienna 1900 to the Present (2012), Reductionism in Art and Brain Science: Bridging the Two Cultures (Columbia, 2016), The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018), and There Is Life After the Nobel Prize (Columbia, 2022). He is also a coauthor of Principles of Neural Science (2021), the standard textbook in the field of neuroscience.

Anything Eric R. Kandel says about neuroscience or the relationship between art and neuroscience is noteworthy. He is not only brilliant at explaining difficult and complex scientific ideas and data in simple language but also well-informed about—and sympathetic to—twentieth-century art, and avails himself of an impressive range of art-historical literature.

• Preface1. The Productive Interaction of Christians and Jews That Led to the Creation of Modernism in Vienna 19002. Empathy and the Uncertainties of Being in the Paintings of Chaim Soutine: A Beholder’s Perspective3. Competing Influences That Gave Rise to the Modern Representation of Women4. Portraiture and the Beholder’s Share: A Brain Science Perspective5. The Cubist Challenge to the Beholder’s Share6. Comparison of Sculpture and Painting7. The Beholder’s Response to Abstract and Figurative ArtNotesIndex