The Discovery Of The Art Of The Insane

Surveys the changes in attitudes toward the art of the mentally ill, discussing the growing acceptance of these artists and their work and the influence of this art on the whole of art

This pioneering work, the first history of the art of the insane, scrutinizes changes in attitudes toward the art of the mentally ill from a time when it was either ignored or ridiculed, through the era when major figures in the art world discovered the extraordinary power of visual statements by psychotic artists such as Adolf Wlfli and Richard Dadd. John MacGregor draws on his dual training in art history and in psychiatry and psychoanalysis to describe not only this evolution in attitudes but also the significant influence of the art of the mentally ill on the development of modern art as a whole. His detailed narrative, with its strangely beautiful illustrations, introduces us to a fascinating group of people that includes the psychotic artists, both trained and untrained, and the psychiatrists, psychoanalysts, critics, and art historians who encountered their work."The psychotics who haunt Mr. MacGregor's pages desperately fling images at us from the midst of their manias, suicidal depressions or paranoid reconstructions of the cosmos. . . . Mr. MacGregor is able to show that their work is by no means sealed off from culture. However private their visions, the ways they represent them in art are shaped to a surprising degree by the styles and taste that dominate their respective times. Mr. MacGregor has written a valuable, at times even a daring book."--Michael Vincent Miller, The New York Times Book Review

No one is more conscious of the faults of this work than the author. Therefore some self -criticism should be woven into this foreward. There are two possible methodologically pure solutions to this book's theme: a de scriptive catalog of the pictures couched in the language of natural science and accom panied by a clinical and psychopathological description of the patients, or a completely metaphysically based investigation of the process of pictorial composition. According to the latter, these unusual works, explained psychologically, and the exceptional circum stances on which they are based would be integrated as a playful variation of human expression into a total picture of the ego under the concept of an inborn creative urge, behind which we would then only have to discover a universal need for expression as an instinctive foundation. In brief, such an investigation would remain in the realm of phenomenologically observed existential forms, completely independent of psychiatry and aesthetics. The compromise between these two pure solutions must necessarily be piecework and must constantly defend itself against the dangers of fragmentation. We are in danger of being satisfied with pure description, the novelistic expansion of details and questions of principle; pitfalls would be very easy to avoid if we had the use of a clearly outlined method. But the problems of a new, or at least never seriously worked, field defy the methodology of every established subject.

Madness and Modernism provides a phenomenological study of schizophrenic disorders, criticizing some standard conceptions of these disorders. Sass argues that many aspects of this group of disorders can actually involve more sophisticated (albeit dysfunctional) forms of mind and experience.

Seeing the Insane is a richly detailed cultural history of madness and art in the Western world, showing how the portrayal of stereotypes has both reflected and shaped the perception and treatment of the mentally disturbed.

Michel Foucault examines the archeology of madness in the West from 1500 to 1800 - from the late Middle Ages, when insanity was still considered part of everyday life and fools and lunatics walked the streets freely, to the time when such people began to be considered a threat, asylums were first built, and walls were erected between the "insane" and the rest of humanity.