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Until recently, the psychology of art has been limited to dead artists. In the hands of Freud, the retrospective analysis was an extension of the idea of ??19th century art as a means of contact with great minds. For all the distressing symptoms that detected in Leonardo, Freud's view of artists was essentially the ancient and noble. Subsequent psychoanalysts possessed neither the tact of Freud, or his sense of cultural continuity, with the result that gross post-mortem on the heads flourished absent.
One victim, Vincent van Gogh, was analyzed at different times in terms of syphilitic dementia and schizophrenia, epilepsy known as "emotional" and "epileptic psychosis," aggravated respectively Oedipal conflict and substance abuse. No wonder Artaud was led to proclaim "the mental health of Van Gogh who, throughout his life in this world we live in, burned with one hand, in addition to cutting his left ear." Later psychoanalysts were more sophisticated in terms of art and more sensitive to human suffering of the disease.
In the U.S., but not in Europe, we have a situation where the presence of a psychologist, a school or another, is common, if not statistically normal. With such a patient entry, artists must be regularly and showing, as it happens, the general level of understanding of art has increased, including that of doctors. We must, therefore, to have the beginning of a literature on the psychoanalysis of living artists, or artists personally known to analysts who write about them. One sign of this are the so-called "psychoanalytical drawings" of Jackson Pollock.
The drawings are from a single source, a physician whose Pollock consulted for eighteen months in 1939-40. The merits of this event, a physician may sell the work of a patient, is not clear, but it is thirty years since the sessions and fourteen since the death of the artist [Pollock died in 1956] . It is certainly a financial gain for the seller, but it hardly counts as a violation of trust. Lee Krasner Pollock, the artist's widow, contacted the New York Times (October 16, 1970) about this. "Whether Dr. Henderson has acted properly disclose the communications of Michael Jackson with him and make his judgment public personal psychotherapy is an issue that must find his own conscience." It must be said that the catalog is completely wise, stay well within the public domain disorders Pollock. In a book written by Bryan Robertson, tolerated by Mrs. Pollock, there are several references to alcoholism Pollock, for example, including the defense claim: "when he was drunk and unhappy, and involved in trivial disputes bar, the arms were sometimes thrust into his hand by eager spectators. "
The drawings were originally used to facilitate communication between Henderson and Pollock. Apparently, discussing drawings with the doctor Pollock could reveal what he had trouble saying in a straight line. This is a serious gap in the catalog by CL Wysuph that although he is introducing us to the drawings, there is, at the same time, we screened their original interpretation. It is a tantalizing reference to "Joseph Henderson, MD," Jackson Pollock: A psychological commentary. "Unpublished Essay," but only Section II trial of Mr. Wysuph goes into detail clinic, including five citations, nor by the doctor.
According Wysuph, Henderson diagnosed schizophrenia and drawings are said to indicate alternations of "violent agitation" and "withdrawal". He is cited as the interpretation of a specific design (No. 57 in the series) as follows: "those pathetic upper limbs reaching upward to a callous, purely schematic, female torso, must designate an issue left unresolved and perhaps insoluble, a frustrated desire of all-giving mother. "This is not a reduction in the privacy of Pollock, it's cliche, not a revelation. Wysuph Mr. Pollock suggested that movement, in the thirties, from a Midwest Imaging influenced by Mexico's artistic styles and social towards surrealism shows that "it must have felt the need to express a reality more inside. "However, it is more that if Pollock pass a set of simple public symbols to another set, not just as simple and less public. Pollock seems to have been familiar with analytical psychology before going in Henderson, so we have a relation independent of Jungian physician and a patient predisposed Jungian. Indeed, Dr. Henderson acknowledges a "cons-symbolic transfer to matter."
I do not want the analysis may not have been good for Pollock, but I doubt that the drawings are for the analyst in every sense more expressive, more authentic, than his other work. The weakness of the psychology of art is that its literature consists of a bunch of unrelated and unverifiable assumptions about artists in crisis. Art is supposed to be a source of secret knowledge, an idea linked to the 19th century view of art as self expression. What is Jungian psychology gave Pollock was an iconography; not an involuntary mode of revelation, but a set of mythical figures knowingly use. Except for his best season, 1948-50, figures and animals still inhabit the paintings of Pollock as a public generation analyzed.
The drawings themselves are interesting because they fill in the outline that was indicated by the sketches already known of the period belonging to the estate Pollock. The main style is the Mexican version of Cubism, a heavy mesh as mechanical sources, totemic and organic, very sleek and greasily shadow in pencil. When a light image distribution occurs, there are frequent patches of Arp, Miró, Picasso and Henry Moore. The drawings are mostly heavy-handed and banal, the work of a man who did not go as an artist until 1942, at the age of 30 years. It was, if it's not exactly a late starter, it is estimated that a clumsy, like other Americans of his generation working in the absence of support systems now abundant in the art scene.
The future of psychoanalysis of art seems to lie in working with artists who are nonpatients. It is only then that the problem of how an artist sees his own work, what are its satisfactions in work, be documented accurately. Then outliers usually discussed will be a significant line of reference. An example of such work is the series of sessions of Indiana and Dr. Arthur C. Carr, in which the artist gave free associations to his own paintings. Indiana is an artist and articulate Dr. Carr is a collector (have lots of Indianas beginning), and a psychiatrist. The match was exceptional and enlightening results well, currently unpublished. Clearly, however, that discussions of this kind, with artists, nonpatient reveal more about the art of infatuation with ventilation has ever done. In any case, it seems that Pollock, in turn, makes art that meet the demands of his physician. This is the reason that makes a wish for a better use of original material Henderson, not as news of Pollock archaic past, but as a guide for the conscious intentions of the artist later.
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