Search results
Results from the WOW.Com Content Network
The Myth of the Mentally Ill Creative blog entry about creativity and mental illness by a professor of psychology and creativity scientist Keith Sawyer; A journey into chaos: Creativity and the unconscious Archived 2019-08-15 at the Wayback Machine by Nancy C Andreasen, Mens Sana Monographs, 2011, 9(1), p 42–53.
Franz Pohl (1868–1940) [1] was the pseudonym of Franz Karl Bühler, a schizophrenic outsider artist and one of the "schizophrenic masters" profiled by Hans Prinzhorn in his field-defining work Artistry of the Mentally Ill. Bühler was a metalsmith by trade until 1898. [1]
Interest in the art of the mentally ill, along with that of children and the makers of "peasant art", developed from the end of the 19th century onward, both by psychiatrists such as Cesare Lombroso, Auguste Marie or Marcel Réjà, and by artists, such as members of "Der Blaue Reiter" group: Wassily Kandinsky, August Macke, Franz Marc, Alexej von Jawlensky, and others.
Van Gogh, who struggled with poverty and mental illness for most of his life, is regarded as a famous example of the tortured artist. A tortured artist is a stock character and stereotype who is in constant torment due to frustrations with art, other people, or the world in general. The trope is often associated with mental illness. [1]
The work was made quickly, which prefigured the concerns of the Impressionists. However, the painting did not belong to Impressionism.At the time, to give dignity to those who were mentally ill was new: they were generally excluded from society, [4] and the previous works represented madmen as possessed creatures or ludicrous people, according to a medieval belief.
Artistry of the Mentally Ill: a contribution to the psychology and psychopathology of configuration (German: Bildnerei der Geisteskranken: ein Beitrag zur Psychologie und Psychopathologie der Gestaltung) is a 1922 book by psychiatrist Hans Prinzhorn, known as the work that launched the field of psychiatric art.
The book is mainly concerned with the borderline between psychiatry and art, illness and self-expression. It represents one of the first attempts to analyse the work of the mentally ill. After short stays at sanatoriums in Zürich , Dresden and Wiesbaden , he began a psychotherapy practice in Frankfurt in 1925, but without much success.
The Portraits of the Insane depict patients from the Paris mental hospitals La Salpêtrière and Bicêtre. [4]: 14 [3] Art historians have described the portraits as significant for their "unprecedented objective sobriety,” [5] observing that they "have a powerful realism that is entirely unaffected by romantic sentiment or artistic dramatization.” [3]