The visual arts make use of nonverbal representation and therefore require a different psychoanalytic approach than the language arts. The work of art can be considered as a compromise solution between impulses and defenses. Psychoanalysis can then try to reveal the unconscious ideas behind the creative work. But in the visual arts, even more so than in the language arts, it is form itself, more than the represented subject, that must be interpreted.
The first psychoanalytic text to examine the [[visual arts was Freud's Leonardo da Vinci ]] make use of nonverbal [[representation]] and therefore require a Memory of his Childhood (1910c). Freud opened different [[psychoanalysis|psychoanalytic]] approach than the way for psycho-biography by demonstrating the impact of instinctual and infantile life on the artist's creative work. In his analysis of La Gioconda and Saint Anne, he approached the analysis of formal elements: the Gioconda's enigmatic smile owes its existence to Leonardo's infantile life; the confusion of the bodies of Anne and Mary in the London drawing is said to be a form of condensation[[language arts]].
In 1911 Karl Abraham published an essay on Giovanni Segantini==The Work of Art==The [[work of art]] can be considered as a [[compromise solution]] between [[impulse]]s and [[defense]]s. His goal was to show that psychoanalysis [[Psychoanalysis]] can be applied then try to reveal the analysis of mental processes other than neurosis[[unconscious]] [[ideas]] behind the [[creativity|creative work]]. He demonstrated the role of the practice of making art But in the psychic economy of the artist[[visual arts]], even more so than in the importance of infantile experience[[language arts]], real or imaginedit is [[form]] itself, and more than the antagonistic interplay of love and hate in the genesis of the work. Unfortunately[[representation|represented]] [[subject]], his analysis of the paintings themselves does not deepen the that must be [[interpretation of the manifest subject of the representation|interpreted]].
In 1913 Otto Rank ==Sigmund Freud==The first [[:category:works|psychoanalytic text]] to examine the [[visual arts]] was [[Freud]]'s <i>[[Leonardo da Vinci and Hanns Sachs published in Die Bedeutung der Psychoanalyse für die Geiteswissenschaften (Psychoanalysis and the humanities) a chapter on the aesthetics and psychology of art, centered on the affects of pleasure and unpleasure of the work of art. They argued that the economy of affect governs the development of the formal aspects of the work Memory of arthis Childhood]]</i>.<ref>1910c</ref>
[[Freud published "The Moses of Michelangelo" (1914b) but did not sign it, proof of his prudence in using psychoanalysis ]] opened the way for [[psycho-biography]] by demonstrating the interpretation impact of artistic phenomena[[instincts|instinctual]] and [[childhood|infantile life]] on the [[artist]]'s [[creativity|creative work]]. Freud based (In his interpretation analysis of the statue on his own feelings. Since La Gioconda and Saint Anne, he identified with approached the subject analysis of [[formal]] elements: the representation, he understood Gioconda's enigmatic smile owes its [[existence]] to [[Leonardo]]'s [[infantile]] [[life]]; the confusion of the statue in terms bodies of his own emotional investment, thus opening a path to an approach to artistic phenomena that was little used by later psychoanalysts, who were primarily interested Anne and Mary in an analysis of the process of artistic creation. There were [[London]] drawing is said to be a number form of important contributions to this field aside from the work of Freud: Otto Rank, Melanie Klein, Hanna Segal, Ernst Kris, Donald Winnicott, and Didier Anzieu[[condensation]].)
Children's drawings and the work [[Freud]] published "[[The Moses of psychotics have been used as nonverbal materialMichelangelo]]"<ref>1914b</ref> but did not [[sign]] it, but strangely they have had little influence on the proof of his prudence in using [[psychoanalysis of the visual arts. This field owes a great deal to ]] for the work [[interpretation]] of artists and [[art historians like Anton Ehrenzweig, Meyer Schapiro, Jean Clair, and René Démoris, who have made use ]]istic phenomena. [[Freud]] based his [[interpretation]] of psychoanalytic theorythe statue on his own [[feeling]]s. Along Since he [[identification|identified]] with the approach taken by psychobiography and interpretations [[subject]] of the creative process[[representation]], both he [[understood]] the statue in [[terms]] of which are focused on the artisthis own [[affect|emotional investment]], psychoanalysis can also help us understand the work of thus opening a path to an approach to [[art itself, providing it can avoid using verbal language as the only source of reference. When Freud wrote ]]istic phenomena that the lack of expression of the visual arts was due to the material little used by those artslater [[psychoanalysts]], he was referring to thiswho were primarily interested in an analysis of the [[process]] of artistic creation.
The image is not only There were a metaphor or symbol; it signifies, through its materiality, the setting aside [[number]] of its metaphoric or symbolic meaning and the context in which our perceptual important contributions to this field has classified it. It comes to prominence through aside from the brilliance [[work]] of its materiality as a new external perception that we nonetheless are able to recognize. For the visual arts much more than for literatureFreud: Otto Rank, Melanie [[Klein]], Hanna Segal, Ernst [[Kris]], meaning is hidden in formDonald [[Winnicott]], the result of the conscious and unconscious intentions of the authorDidier Anzieu.
It is in [[Children]]'s drawings and the formal specifics work of the work—that ispsychotics have been used as nonverbal [[material]], its style—that the process of figuration unique to the author is found. This is what Freud called, referring to the dream work, "pictorial language," our first mode of expression. The painted or sculpted image should not be considered only but strangely they have had little influence on the transcription psychoanalysis of verbal thought but the expression of a [[visual unconscious that preserves our earliest impressions. The artist uses a sensory material that bears the traces of his first affective perceptions and experiences, producing a figurative representation that balances desire with external reality, actual perception with what has been irremediably lost]] [[arts]].
The psychoanalytic Along with the approach to the arts requires a methodology first used taken by Freud in "The Moses psychobiography and [[interpretations]] of Michelangelo." The effect the work has on the spectator is the object of analysis. The image must be considered a libidinal object creative process, both of investment that is offered to the spectator and apprehended which are focused on the basis of artist, psychoanalysis can also [[help]] us [[understand]] the effects it provokes in him. The work of art reactivates the spectator's unconscious desire and awakensitself, step by step, the representations he has used providing it can avoid using [[verbal]] [[language]] as a support. Through this associative process, the spectator-analyst juxtaposes the resonances the work provokes in him and the formal aspects that can be considered traces only source of the unconscious life of its author. It is through this chain of association that he will be able to reconstruct the fantasies that generated the work of artreference.
MICHEL ARTIÈRESWhen Freud wrote that the [[lack]] of expression of the visual arts was due to the material used by those arts, he was referring to this.
See also: Baudouin, Charles; "Claims of Psychoanalysis to Scientific Interest"; Literary and artistic creation; Illusion; Kris, Ernst; Leonardo da Vinci and a Memory of his Childhood; "Moses of Michelangelo, The"; Rank (Rosenfeld), Otto; Representability; Sublimation.
Bibliography
* AnzieuThe [[image]] is not only a [[metaphor]] or [[symbol]]; it [[signification|signifies]], Didier. (1981). Le corps de l 'œuvrethrough its [[materiality]], essais psychanalytiques sur le travail créateur. Paris: Gallimard. * Artières, Michel. (1995). Cézanne ou l 'inconscient maître d 'œuvre. Lausanne: Delachaux the setting aside of its [[metaphor]]ic or [[symbol]]ic [[meaning]] and Niestléthe context in which our [[perceptual field]] has classified it. * Freud, Sigmund. (1914b). The Moses It comes to prominence through the brilliance of Michelangelo. SE, 13: 209-238its [[materiality]] as a new [[external]] [[perception]] that we nonetheless are able to recognize. * KrisFor the [[visual arts]] much more than for [[literature]], Ernst. (1952). Psychoanalytic explorations [[meaning]] is hidden in art. New York: International Universities Press. * Schapiro[[form]], Meyer. (1994). Theory the result of the [[conscious]] and philosophy [[unconscious]] intentions of art: Style, artist, and society. New York: George Brazillerthe [[author]].
It is in the [[form]]al specifics of the work — that is, its style — that the process of figuration unique to the [[author]] is found.
This is what [[Freud]] called, referring to the [[dream work]], "[[pictorial language]]," our first mode of [[expression]]. The [[painting|painted]] or [[sculpture|sculpted]] [[image]] should not be considered only the transcription of verbal [[thought]] but the expression of a visual [[unconscious]] that preserves our earliest impressions.
The [[artist]] uses a sensory material that bears the [[trace]]s of his first [[affect]]ive [[perception]]s and experiences, producing a figurative [[representation]] that balances [[desire]] with [[external reality]], actual [[perception]] with what has been irremediably [[lost]].
The [[psychoanalytic]] approach to the [[art]]s requires a methodology first used by [[Freud]] in "[[The Moses of Michelangelo]]."
The effect the work has on the [[spectator]] is the [[object]] of [[analysis]].
The [[image]] must be considered a [[libido|libidinal]] [[object]] of [[investment]] that is offered to the [[spectator]] and apprehended on the basis of the effects it provokes in him.
The [[work of art]] reactivates the [[spectator]]'s [[unconscious]] [[desire]] and awakens, step by step, the [[representation]]s he has used as a support.
Through this associative process, the [[spectator]]-[[analyst]] juxtaposes the resonances the work provokes in him and the formal aspects that can be considered traces of the [[unconscious]] life of its [[author]].
It is through this [[chain of association]] that he will be able to reconstruct the [[fantasy|fantasies]] that generated the [[work of art]].
==See Also==
* [[Charles Baudouin]]
* [[Claims of Psychoanalysis to Scientific Interest]]
* [[Literary and artistic creation]]
* [[Illusion]]
* [[Ernst Kris]]
* [[Leonardo da Vinci and a Memory of his Childhood]]
* [[The Moses of Michelangelo]]
* [[Otto Rank]] [[Rosenfeld]]
* [[Representability]]
* [[Sublimation]]
==References==
<references/>
# [[Freud, Sigmund]]. 1914b. [[The Moses of Michelangelo]]. SE, 13: 209-238.
[[Category:New]]
[[Category:Sigmund Freud]]
[[Category:Psychoanalysis]]
[[Category:Terms]]
[[Category:Concepts]]
[[Category:Art]]
[[Category:Culture]]
[[Category:Jacques Lacan]]
