Changes
The LinkTitles extension automatically added links to existing pages (<a rel="nofollow" class="external free" href="https://github.com/bovender/LinkTitles">https://github.com/bovender/LinkTitles</a>).
[[Freud]] opened the way for [[psycho-biography]] by demonstrating the impact of [[instincts|instinctual]] and [[childhood|infantile life]] on the [[artist]]'s [[creativity|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]].)
[[Freud]] published "[[The Moses of Michelangelo]]"<ref>1914b</ref> but did not [[sign ]] it, proof of his prudence in using [[psychoanalysis]] for the [[interpretation]] of [[art]]istic phenomena.
[[Freud]] based his [[interpretation]] of the statue on his own [[feeling]]s.
Since he [[identification|identified]] with the [[subject]] of the [[representation]], he [[understood ]] the statue in [[terms ]] of his own [[affect|emotional investment]], thus opening a path to an approach to [[art]]istic phenomena that was little used by later [[psychoanalysts]], who were primarily interested in an analysis of the [[process ]] of artistic creation.
There were a [[number ]] 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.
[[Children]]'s drawings and the work of psychotics have been used as nonverbal [[material]], but strangely they have had little influence on the psychoanalysis of the [[visual ]] [[arts]].
Along with the approach taken by psychobiography and [[interpretations ]] of the creative process, both of which are focused on the artist, psychoanalysis can also [[help ]] us [[understand ]] the work of art itself, providing it can avoid using [[verbal ]] [[language ]] as the only source of reference.
When 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.
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.
