Le regard d'un psychiatre sur les écrits de la folie : la carrière de Hans Steck à l'Asile psychiatrique de Cery (1920-1960)

Quelles représentations de la schizophrénie les psychiatres vont-ils construire à travers l'étude des écrits asilaires des patients et des scientifiques dans la première moitié du XXème siècle? Le psychiatre helvétique Hans Steck (1891-1980), qui a travaillé à l'Asile psychiatrique de Cery de 1920 à 1960 et qui s'est fait connaître du public grâce à l'oeuvre d'Aloïse Corbaz, reconnue comme auteure d'art brut par Jean Dubuffet en 1945, constitue le fil rouge de la thèse. Dans le contexte des mouvements tels que Γ "art psychopathologique" et Γ "art brut", Steck étudie les théories de "la mentalité primitive et les peintures magiques des schizophrènes". En 1927, il se tourne vers les théories évolutionnistes de la régression et les premières études de Lévy-Bruhl pour avancer l'idée qu'il existe un "parallélisme schizo-primitif'. Puis il développe des explications de la pensée délirante, à partir des théories exposées lors du Premier Congrès International de Psychiatrie en 1950. Enfin, adoptant la perspective phénoménologique, il explique que "la fonction de l'art et la fonction du délire visent à reconstituer un monde viable pour le malade". En ce sens, l'expression artistique, bien que n'entrant pas dans le champ de la psychothérapie, fournit des indicateurs de l'état psychique du malade en même temps qu'elle contribue à son bien-être. Sont abordés les problèmes concernant la reconnaissance de Γ "auteur" interné, dont les oeuvres appartiennent soit aux archives médicales, soit au musée. La pérennité des critères qui définissent les oeuvres d'"art psychopathologique" ou d'"art brut" est également mise en question. Enfin, le rôle essentiel de l'écriture à l'hôpital, tant pour les patients que pour les soignants, fait l'objet de nombreux développements. - What representations of schizophrenia have psychiatrists been constructing when studying writings by patients and scientists in mental asylums in the first half of the 20th century? The Swiss psychiatrist Hans Steck (1891-1980) is the protagonist of this dissertation. From 1920 to 1960, he has been working at the "Asile psychiatrique de Cery" near Lausanne. Steck is known thanks to the paintings of Aloïse Corbaz, an artist recognized by Jean Dubuffet as belonging to the "art brut" movement in 1945. In the context of movements like "art psychopathologique" and "art brut," Steck studies theories of "primitive character and magic paintings of schizophrenics." In 1927, Steck engages with theories of regression and Lévy-Bruhl's early studies in order to push the idea of a "parallelism schizo-primitif." On the occasion of the First International Congress of psychiatry held in Paris in 1950, Steck develops explanations for the "pensée délirante." Finally, turning to a phenomenological point of view, he explains, "the function of art and the function of the delusion help the patient to reconstruct a viable environment for the sick person." In this way, artistic expression is not thought of as a psychotherapeutical means, but provides insight into the state of mind of a mentally sick person at the same time as contributing to his well-being. The dissertation discusses whether the "author's" work belongs in medical archives or museums. The continuity of "psychopathological art" and "art brut" criteria will be discussed. Finally, the essential role that writing played in the hospital for the patients as well as for the medical staff is presented.

Understanding Van Gogh's Night: bipolar disorder

Vincent Van Gogh (1853-1890) imparted in his art a deep essence of life, and in such a unique way that many would say it is possible to experience it vicariously by looking at his paintings even once. In 10 years, while exerting mental and physical efforts that may well have contributed to his premature death, he produced an impressive number of masterpieces. However, the specific neurological disorder Van Gogh suffered and how this may have influenced his art is still not clear. The combination of his eccentric personality, irascible temper, unstable moods and prolific creativity, makes the understanding of his illness a very complex endeavor and therefore poses a great challenge to those who investigate the relationships between the 'artistic mind', the brain and illness. In fact, most of the diagnoses (nearly 30) proposed for Van Gogh, during the last century, are not based on medical evidence but are ascertainable from analyses of his paintings and biographical data. Although no definitive diagnosis can be made based on such evidence, we conclude that according to DSM-IV criteria and findings extrapolated from his letters, Van Gogh is most likely to have suffered a bipolar disorder, affective or schizoaffective, which caused his death by suicide.

Assessing the pH and DP of canvasses with NIR spectroscopy

The canvas support in easel paintings is composed mainly of cellulose. One of the maindegradation paths of cellulose is acid-catalysed hydrolysis, which means that in an acidic environment (low pH), its degradation proceeds at a faster rate (Strlič et al., 2005).The main effect of acid-catalysed hydrolysis is the breaking up of the polymer chains,measured by the “Degree of Polymerisation” (DP). The lowering of the DP value impliesa lower mechanical strength of the textile (Scicolone, 1993), and thus this parameter canbe used to monitor degradation. Knowing these two parameters can, therefore, be veryinformative regarding the condition of the canvas support.

Las investigaciones de Leo Frobenius y el Forschungsinstitut für Kulturmorphologie (FK) sobre el arte rupestre en España (1934-1936).

Leo Frobenius, fundador del Afrika Archiv y director del Forschungsinstitut für Kulturmorphologie (FK), centró la mayor parte de su actividad etnográfica en la documentación y estudio del arte rupestre. Tras estudiar las obras de Hugo Obermaier sobre el arte parietal en la Península Ibérica, decidió, en 1934, organizar una expedición para documentar los principales yacimientos francocantábricos y del Levante español. En ella se estudiaron tan sólo los yacimientos de Roca dels Moros de Cogul y el Barranco de la Valltorta, pero sirvió de base para la programación de una nueva expedición cuyos objetivos eran mucho más ambiciosos. En 1935, con la ayuda de Obermaier, Bosch Gimpera y Martínez Santa Olalla, y el amparo diplomático de la Embajada de Alemania en Madrid, realizó la petición de acceso a las principales cuevas con arte parietal, permiso que consiguió tras arduas negociaciones. En los meses previos al inicio de la Guerra Civil, un grupo de dibujantes y fotógrafos del FK trabajó en las cuevas de El Castillo, La Pasiega y Altamira, obteniendo copias a escala natural de grabados y pinturas que pasaron a formar parte del archivo del Instituto. En 1938, y como consecuencia del apoyo de Alemania al bando nacional, Martínez Santa Olalla, miembro de la Falange, se convirtió en el referente de Frobenius en España, desplazando a Obermaier. Dicha relación tendría como consecuencia el giro en la política arqueológica de los vencedores de la contienda y su vinculación con la organización Das Ahnenerbe de las SS.

Les natures mortes de Paul Gauguin: une production picturale méconnue

Gauguin's first attempts at still-life painting, around 1875, followed the Dutch tradition, influenced mainly by Manet's palette. But he did take occasional liberties in depicting flowers with more fluid colour and dynamic backgrounds. From 1879 his style shows the influence of the Impressionists: Pissarro in the landscapes and Degas in the composition of his still-lifes. He was also open to the new trends which were developing among artists in Paris and applied them in his paintings, using still-lifes as his main means for testing them. He did not escape the contemporary fascination with Japonism, and even experimented briefly with Pointillism in Still Life with Horse's Head. His stays in Britain between 1886 and 1890 correspond to an extremely rich and innovative period for him, in which still-lifes served for increasing experimentation. "Fête Gloanec" and Three Puppies reflect his preoccupations: rejection of perspective, use of areas of flat colour, and mixed styles. These pictures amount to an aesthetic manifesto; many of them are also imbued with strong symbolism, as in the Portrait of Meyer de Haan, which is a melancholic reflection on the fall of man. In Still-Life with Japanese Print, frail blue flowers seem to come out of the head of the artist-martyr, a pure product of the painter's "restless imagination". Thus Gauguin showed that art is an "abstraction" through a genre which was reputed to lend itself with difficulty to anything other than mimesis. Although he moved away from still-life after 1890, Gauguin is one of the first artists to radically renew its role and the status of still-life at the end of the 19th century, well before the Fauvists and Cubists.

Looking Back: Historical Hall, 1899-1904; State Historical, Memorial and Art Building, 1905-1999; Ola Babcock Miller Building, 1999-Present, June 2013

For more than 80 years, visitors to the Iowa State Historical, Memorial, and Art Building were treated to the state’s collection of historic documents, literature, portraits, and historical, geological, and archeological artifacts. Those who visited might have memories of the spectacular sand paintings by Iowan Andrew Clemens, the variety of taxidermy Iowa animals, the pioneer Conestoga wagon in the basement, the biplane hanging from the dome ceiling, the odd display by the medical library of things removed from stomachs, or the Native American display on the third floor. This booklet is a look back at the origins of the museum. It includes some of the Historical Department reports, legislation passed by the general assembly, newspaper and magazine articles, and photographs pertaining to the museum and library. It is not intended to be an exhaustive review and documentation of displays and exhibits. It is a brief overview of the building’s history and some photographs that may bring back memories, for some, of a field trip as a student. This booklet has been created from a variety of source materials: photographs, newspaper articles, and various reports. The following have contributed: State Library of Iowa, Iowa State Historical Society, the Iowa Judicial Branch, Susan Wallace, Helen Dagley, Barb Corson, Jerome Thompson, Pam Rees, Georgiann Fischer, and Jason Mrachina.

Assessing the pH and DP of canvasses with NIR spectroscopy

The canvas support in easel paintings is composed mainly of cellulose. One of the maindegradation paths of cellulose is acid-catalysed hydrolysis, which means that in an acidic environment (low pH), its degradation proceeds at a faster rate (Strlič et al., 2005).The main effect of acid-catalysed hydrolysis is the breaking up of the polymer chains,measured by the “Degree of Polymerisation” (DP). The lowering of the DP value impliesa lower mechanical strength of the textile (Scicolone, 1993), and thus this parameter canbe used to monitor degradation. Knowing these two parameters can, therefore, be veryinformative regarding the condition of the canvas support.

"Locus Ecclesiae" : Passion du Christ et renouveaux ecclésiastiques dans la peinture murale des Pyrénées françaises : les styles picturaux (XIIe s.)

RESUME FRANCAIS Le premier chapitre de la thèse prend en considération le style des peintures murales du XIIe siècle à Toulouse, en Comminges, en Couserans, en Carcassonnais et en Roussillon. Chaque oeuvre est analysée de manière comparative avec les autres oeuvres de la même région. Dans la conclusion, on propose de reconnaître l'existence d'au moins trois - peut-être quatre - centres de production de peinture murale, qui exercent leur influence sur la production de la région. La ville de Toulouse se présente comme une véritable capitale régionale en matière de peinture murale. La découverte d'une inscription qui permet de dater une partie des décors de Saint-Sernin à l'année près constitue l'acquis majeur de cette partie. Le deuxième chapitre est consacré à l'analyse de l'iconographie de la Passion du Christ dans les peintures de Saint-Sernin de Toulouse, Saint-Plancard et Montgauch. L'on étudie ici lés valeurs ecclésiales et le thème de la rénovation dans l'iconographie de la Passion. L'étude explore aussi la notion de «lieu rituel » et la fonction spatiale des peintures dans l'édifice. Elle propose d'identifier des réaménagements du lieu selon l'exhibition d'un discours portant sur l'identité religieuse et l'autorité temporelle de l'Église, en coïncidence avec différentes facettes de la Réforme au XIIe siècle, dont l'étude a retrouvé certaines sources écrites. La troisième partie de la thèse est occupée par « le corpus des oeuvres », base documentaire de notre travail comportant les données historiques, architecturales, techniques, épigraphiques et bibliographiques de chaque oeuvre. RESUME ANGLAIS The first chapter of the dissertation takes into consideration the style of mural painting in Toulouse, Comminges, Couserans, Carcassonnais and Roussillon. Each work is studied in a comparative way with the other paintings of the same region. In the conclusion, we propose to recognise the existence of at least three - maybe four - centres of production of mural painting, influencing the production of the region. The city of Toulouse represents a real capital for the region in terms of mural painting. The discovery of an inscription that dates a part of the paintings of Saint-Sernin is the major result of this part. The second chapter is devoted to the analysis of the iconography of Christ's Passion in the mural paintings of Saint-Sernin of Toulouse, Saint-Plancard and Montgauch. The enquiry explores the ecclesiastical values and the theme of renovatio in this iconography, as well as the notion of "ritual place" and the spatial function of the paintings in the building. It identifies the redevelopment of places according to the exhibition of a speech on the religious identity and the temporal authority of the Church. These meanings coincide with different aspects of the XIIth century Reform, evidenced by unpublished sources. The third part of the dissertation is the "corpus", a documentary base for the whole enquiry composed by information on the historical background, the architecture, the paintings' techniques, and the epigraphic data of each work.

Una nueva obra atribuida a Urbano Fos (Arnes, Tarragona, c. 1615-Valencia, 1658)

Urbano Fos fue uno de los mejores representantes del Barroco valenciano. En este estudio atribuimos a su pincel un lienzo inédito de gran calidad. Se trata de una magnífica representación de San Pascual Bailón. Con nuestra investigación hemos demostrado sus filiaciones técnico-artísticas y resaltado aquellos aspectos por los que se popularizó su pintura.

La indumentaria como fuente para la didáctica de la historia: problemática y estado de la cuestión

La indumentaria es un objeto de incuestionable valor para la didáctica de la historia y de otras ciencias sociales, ya que posee todas las cualidades de la didáctica del objeto con un atractivo añadido muy vinculado a su aspecto y funcionalidad estética y a su reclamo visual; es fácil vincular períodos históricos con su indumentaria característica, puesto que nuestro imaginario cultural está lleno de películas, pinturas e incluso disfraces que proporcionan datos al respecto. Lo que resulta complicado es dilucidar qué imágenes son las más fidedignas, y esta cuestión no es otra que la relacionada con la veracidad y rigor de las fuentes de la indumentaria. El presente artículo analiza dicha problemática, además de la relacionada con la polisemia de su nomenclatura, con la necesidad de conocer su contexto estético o con la naturaleza de sus cambios y continuidades.

Exploring transparent approaches to the authentication of signatures on artwork

This thesis is composed of three main parts. The first consists of a state of the art of the different notions that are significant to understand the elements surrounding art authentication in general, and of signatures in particular, and that the author deemed them necessary to fully grasp the microcosm that makes up this particular market. Individuals with a solid knowledge of the art and expertise area, and that are particularly interested in the present study are advised to advance directly to the fourth Chapter. The expertise of the signature, it's reliability, and the factors impacting the expert's conclusions are brought forward. The final aim of the state of the art is to offer a general list of recommendations based on an exhaustive review of the current literature and given in light of all of the exposed issues. These guidelines are specifically formulated for the expertise of signatures on paintings, but can also be applied to wider themes in the area of signature examination. The second part of this thesis covers the experimental stages of the research. It consists of the method developed to authenticate painted signatures on works of art. This method is articulated around several main objectives: defining measurable features on painted signatures and defining their relevance in order to establish the separation capacities between groups of authentic and simulated signatures. For the first time, numerical analyses of painted signatures have been obtained and are used to attribute their authorship to given artists. An in-depth discussion of the developed method constitutes the third and final part of this study. It evaluates the opportunities and constraints when applied by signature and handwriting experts in forensic science. A brief summary covering each chapter allows a rapid overview of the study and summarizes the aims and main themes of each chapter. These outlines presented below summarize the aims and main themes addressed in each chapter. Part I - Theory Chapter 1 exposes legal aspects surrounding the authentication of works of art by art experts. The definition of what is legally authentic, the quality and types of the experts that can express an opinion concerning the authorship of a specific painting, and standard deontological rules are addressed. The practices applied in Switzerland will be specifically dealt with. Chapter 2 presents an overview of the different scientific analyses that can be carried out on paintings (from the canvas to the top coat). Scientific examinations of works of art have become more common, as more and more museums equip themselves with laboratories, thus an understanding of their role in the art authentication process is vital. The added value that a signature expertise can have in comparison to other scientific techniques is also addressed. Chapter 3 provides a historical overview of the signature on paintings throughout the ages, in order to offer the reader an understanding of the origin of the signature on works of art and its evolution through time. An explanation is given on the transitions that the signature went through from the 15th century on and how it progressively took on its widely known modern form. Both this chapter and chapter 2 are presented to show the reader the rich sources of information that can be provided to describe a painting, and how the signature is one of these sources. Chapter 4 focuses on the different hypotheses the FHE must keep in mind when examining a painted signature, since a number of scenarios can be encountered when dealing with signatures on works of art. The different forms of signatures, as well as the variables that may have an influence on the painted signatures, are also presented. Finally, the current state of knowledge of the examination procedure of signatures in forensic science in general, and in particular for painted signatures, is exposed. The state of the art of the assessment of the authorship of signatures on paintings is established and discussed in light of the theoretical facets mentioned previously. Chapter 5 considers key elements that can have an impact on the FHE during his or her2 examinations. This includes a discussion on elements such as the skill, confidence and competence of an expert, as well as the potential bias effects he might encounter. A better understanding of elements surrounding handwriting examinations, to, in turn, better communicate results and conclusions to an audience, is also undertaken. Chapter 6 reviews the judicial acceptance of signature analysis in Courts and closes the state of the art section of this thesis. This chapter brings forward the current issues pertaining to the appreciation of this expertise by the non- forensic community, and will discuss the increasing number of claims of the unscientific nature of signature authentication. The necessity to aim for more scientific, comprehensive and transparent authentication methods will be discussed. The theoretical part of this thesis is concluded by a series of general recommendations for forensic handwriting examiners in forensic science, specifically for the expertise of signatures on paintings. These recommendations stem from the exhaustive review of the literature and the issues exposed from this review and can also be applied to the traditional examination of signatures (on paper). Part II - Experimental part Chapter 7 describes and defines the sampling, extraction and analysis phases of the research. The sampling stage of artists' signatures and their respective simulations are presented, followed by the steps that were undertaken to extract and determine sets of characteristics, specific to each artist, that describe their signatures. The method is based on a study of five artists and a group of individuals acting as forgers for the sake of this study. Finally, the analysis procedure of these characteristics to assess of the strength of evidence, and based on a Bayesian reasoning process, is presented. Chapter 8 outlines the results concerning both the artist and simulation corpuses after their optical observation, followed by the results of the analysis phase of the research. The feature selection process and the likelihood ratio evaluation are the main themes that are addressed. The discrimination power between both corpuses is illustrated through multivariate analysis. Part III - Discussion Chapter 9 discusses the materials, the methods, and the obtained results of the research. The opportunities, but also constraints and limits, of the developed method are exposed. Future works that can be carried out subsequent to the results of the study are also presented. Chapter 10, the last chapter of this thesis, proposes a strategy to incorporate the model developed in the last chapters into the traditional signature expertise procedures. Thus, the strength of this expertise is discussed in conjunction with the traditional conclusions reached by forensic handwriting examiners in forensic science. Finally, this chapter summarizes and advocates a list of formal recommendations for good practices for handwriting examiners. In conclusion, the research highlights the interdisciplinary aspect of signature examination of signatures on paintings. The current state of knowledge of the judicial quality of art experts, along with the scientific and historical analysis of paintings and signatures, are overviewed to give the reader a feel of the different factors that have an impact on this particular subject. The temperamental acceptance of forensic signature analysis in court, also presented in the state of the art, explicitly demonstrates the necessity of a better recognition of signature expertise by courts of law. This general acceptance, however, can only be achieved by producing high quality results through a well-defined examination process. This research offers an original approach to attribute a painted signature to a certain artist: for the first time, a probabilistic model used to measure the discriminative potential between authentic and simulated painted signatures is studied. The opportunities and limits that lie within this method of scientifically establishing the authorship of signatures on works of art are thus presented. In addition, the second key contribution of this work proposes a procedure to combine the developed method into that used traditionally signature experts in forensic science. Such an implementation into the holistic traditional signature examination casework is a large step providing the forensic, judicial and art communities with a solid-based reasoning framework for the examination of signatures on paintings. The framework and preliminary results associated with this research have been published (Montani, 2009a) and presented at international forensic science conferences (Montani, 2009b; Montani, 2012).

Les pintures murals de la basílica paleocristiana de «Es Cap des Port» (Fornells, Menorca): materials i tècniques

[cat]El present treball ofereix una revisió de les pintures murals de la basílica de «Es Cap des Port» (Fornells, Menorca), així com un estudi de caracterització arqueomètrica deIs materials i tècniques per microscòpia òptica, tant amb lupa binocular com amb microscopi petrogràfic mitjançant làmina prima, difracció de raigs X i microscòpia electrònica de rastreig. Els resultats han permès identificar els pigments emprats, així com la seva tècnica d'aplicació. Igualment, han permès caracteritzar els morters i han desvelat l' existència de dos tipus diferents de suport. Malgrat aquestes diferències en els morters, els pigments són sempre els mateixos per a tots els conjunts pictòrics caracteritzats [eng] The present paper offers a revision of the wall paintings found at the early Christian church of 'Es Cap des Port' (Fornells, Menorca). Moreover, the materials and techniques employed have been archaeometrically studied by means of optical microscopy, both with steromicroscope and petrographic microscope by thin section, X-ray diffraction and scanning electron microscopy. The results enable to identify the pigments used, as well as the techniques of application. It has also been possible to characterize the mortars, revealing the existence of two different types of support. In spite of these differences in the mortars, the pigments used are the same ones for all the studied wall paintings

Addenda a la biografia i l'obra del pintor Joan Arnau Moret (1603-1693)

The present article treats of the painter Joan Arnau Moret, catalan painter of the 17th century. Aspects treat each other as the order of the great picture preserved in the cathedral of Barcelona with the iconography The de live ry o f the ke ys of the city of Barcelona to the Immaculate, the biographical news it extracted of the process of canonization of santa Maria of Cervelló or the professional relation that Joan Arnau joined with the prince Joan Josep d’Àustria newly finished the Segadors war (The Reapers’ War). Of them the study also announces a work – the Saint Cathe rine o f Ale xandria of the chapel of Saint Catherine of the cathedral of Girona – proposes to attribute four paintings more – the paintings of the altarpiece of The Saints fo ur Martyrs of the cathedral of Girona – and thinks about the controversial paintings of the altarpiece of the Castle of Vilassar and of the monastery of Sant Joan of the Abadesses. Finally, by means of the stylistic reading of the new works, which the author considers of the best of his catalogue, one tries to demonstrate that thesources of your figurative culture and stylistic are in the painting of Madrid of the first decades of the 17th century

Reconstrucción y activación del patrimonio artístico con tecnología audiovisual. Experiencia de Taüll 1123

With the aim of preserving artistic heritage, museums have typically removed paintings and furniture from the places they were created for. Over the decades, the curators of these places have begun to request that these artistic works be returned, conscious of the significance that many of these works now have. Some institutions and museums have responded to these requests by providing copies of the original works. Although traditionally these copies were handmade, digital resources, such as audiovisual technology, are now being used. The Taüll 1123 project (Lleida, Spain) is an example of the use of these new tools for the benefit of artistic heritage and of modern visitors.

Lettura del canto X dell'«Orlando furioso»

Despite the difficulty of examining isolated cantos in Orlando Furioso and thus separating the text from the overall narrative structure, there are features present in Canto X which would encourage just such an approach. In addition to the borrowings from the Latin tradition to be found in the episode of Olimpia and the allegorical machine at work in the story of Ruggiero and Alcina, the canto evinces a consonance with the courtier spirit which was particularly active in the courts of Northern Italy and which went beyond a mere attention to heraldry and emblems. There is indeed a continuity with the figurative arts flourishing in Ferrara at the time, which saw Mantegna's antiquarian and sculpturesque works triumphed over by Titian's mythological paintings. So too with Ariosto, who after his initial "classicist" phase came to be inspired by Titian's work in a move that openly affirmed the originality and strength of his poetry.