Historically, art and esthetics have been well ensconced in the humanities and have not been considered seriously within the sciences. Fechner (1876) began the field of empirical esthetics. More than a century later, neuroscience is playing catch-up, and is finally coming of age (Skov and Vartanian, 2009; Chatterjee, 2011). Theoretical positions and a few books linking neuroscience to art have appeared (Ramachandran and Hirstein, 1999; Zeki, 1999; Livingstone, 2002; Chatterjee, 2004a). Empirical studies using imaging techniques looking at our responses to beauty (Aharon et al., 2001; Ishai, 2007; Winston et al., 2007; Chatterjee et al., 2009) as well as to different kinds of artwork (Kawabata and Zeki, 2004; Vartanian and Goel, 2004; Jacobsen et al., 2005; Ishai et al., 2007; Cela-Conde et al., 2009) are being published. Recent conferences devoted to art and neuroscience (Nadal and Pearce, 2011) attest to the growing interest in the biology of esthetics. In this paper, we examine the state of one important aspect of neuroesthetics, the neuropsychology of art (Chatterjee, 2004b; Bogousslavsky and Boller, 2005; Zaidel, 2005). We outline reasons that this aspect of neuroesthetics has been relatively undeveloped and report our initial attempts to rectify this situation.