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This paper examines the embodied dimension of gesture and movement in painting through an interdisciplinary dialogue between artistic practice and neuroaesthetics. It explores how brushstrokes, textures, and compositional rhythms convey the artist’s presence and elicit embodied and affective responses from viewers. While painting remains a static medium, its gestural qualities evoke sensations of motion and resonance within the observer’s body. Methodologically, the study adopts a qualitative and phenomenological ...