105 - Developing Observational Skills in Undergraduate Students Using Formal Analysis of Fictive Anatomy in Representations of the Body in Renaissance Artworks and Anatomical Models

Poster Board Number: 105
There are separate poster presentation times for odd and even posters.
Odd poster #s – first hour
Even poster #s – second hour

Co-authors:

Jennifer Gear, PhD - Lecturer, History of Art, University of Michigan

Abstract Body : Introduction: Visual arts training has been used in some medical school programs to address the reported deficit in students’ observational skills useful in patient care settings. Because the goals of these activities are general, artworks that do not typically connect to STEM fields in subject matter or feature the body anatomically are used. At the undergraduate level, pre-health profession students in STEM disciplines are rarely provided with an opportunity to develop their observational skills, especially as related to anatomical representations of the body. Previously we demonstrated the effectiveness of using representations of the body in Renaissance artworks for learning surface and musculoskeletal anatomy by undergraduate students (Anat Sci Educ 2023). The goal of this study was to determine whether students’ observational skills improve when provided with training in formal analysis used by art historians to describe the visual structure of compositions. Methods: Undergraduate students (n=18) from kinesiology, nursing and engineering with a background in anatomy participated in a 4-week course in Italy led by instructors with expertise in anatomy and art history. Learning activities focused on representations of the body in Renaissance artworks (sculptures, paintings, works on paper) and anatomical wax models in Florence, Bologna, Milan, Padua and Rome at sites visited in previous years, but were expanded this year to provide formal analysis training in class sessions before departure and in Italy. Observational skills were assessed using word count and thematic analysis on students’ descriptions of David by Michelangelo (pre-test; first site visit) and David by Bernini (post-test; last site visit), and student self-report. Results: Word count in object descriptions increased from pre-test to post-test for 71% of the students. Mean word count for these students increased significantly from 155 to 253 words (81%) (p< .001). The sophistication of the descriptions also increased for most students (88%), both in anatomical details and object details (e.g., texture, color, composition). After the course, 78% of students strongly agreed that they were able to “observe and describe visual phenomena with greater acuity through sustained looking and critical thinking”. One student stated “I have noticed a dramatic shift in my ability to analyze and explain anatomical structures. I have been ensuring to add more detail and have clear description.” Conclusions: Students’ observational skills and musculoskeletal anatomical knowledge increased using formal analysis to describe fictive anatomy in Renaissance artworks. Although the artworks in this course were in Italy, the pedagogy is available to anatomy educators at any institution with a nearby art museum.