Page 18 - Studio International - November 1966

Symbolism and child art

Anthony Carter

The Shorter Oxford English Dictionary defines a symbol
as something that stands for, represents or denotes
something else, or as a written character or mark, a
letter, figure or sign conventionally used for some ob-
ject or process. This would seem fairly clear, but
successive writers add nuances of meaning so that
now the word needs to be re-defined on each occa-
sion. In this essay I would like to try and show some
of the ways in which the word 'symbol' has been used
in contemporary writing on art theory and how a study
of children's drawings can demonstrate some of these
uses. Writers who have taken an interest in symbol
theory and have applied their theories to art include
philosophers, psycho-analysts and art historians.
Ernst Cassirer is perhaps the best known of philo-
sophers who have based their work on a theory of
symbols. In his books Philosophy of Symbolic Form
and An Essay on Man, Cassirer elaborated a philo-
sophy of man in which the unique quality of man was
shown to be his ability to create symbols. Man's
progress is seen as dependent on the evolution of the
symbol in increasingly complex forms culminating in
language.
The general nature of what was being symbolized
In art has been investigated by Susanne Langer. In
Philosophy in a New Key and Feeling and Form she
sets out a theory of art stemming from Cassirer. In
Feeling and Form art is defined as 'the creation of
forms symbolic of human feeling'. For the viewer the
significance of the art symbol or expressive form is
perceived intuitively. Douglas Portway Ibiza, Summer 1966, No. 4
Psycho-analysts are concerned not only with the Oil on paper 15 x 19+ in.
nature of what is symbolized but also how they
arise. This would seem to be a definite step forward. accept the need to postulate an inherited collective given is that it is the conditions that give rise to
In this country it is Herbert Read who has most unconscious; for them both groups of symbols can be the emotion that are being symbolized, rather than
consistently presented a theory of art founded on accounted for by individual developmental patterns. the emotion itself—by being able to give form to the
psycho-analysis. Both Freud and Jung in their exten- It is the first group of symbols that has aroused most problem the associated tension is reduced. So while
sive writings on symbols gave them a central and key interest. The most well known is probably the symbol analysts would seem to agree with Mrs Langer that
position in art. Although they are sometimes con- of the Mandala—a circle or group of circles arranged the making of symbols is the essential process in art,
sidered as opponents in their work it is more useful as a cross. Jung has documented the Mandala in its what is symbolized remains in dispute.
for our purpose to notice the areas of fundamental multitudinous guises and interpretations. A more direct approach to the problem might seem
agreement. To simplify, in a way that is only possible It is this type of abstract symbol that helped Herbert to be that of the art historian who analyses the work
to one who is not an analyst—the basic analytic theory Read to a theory of art that included the increasing- of art. Erwin Panofsky in setting out his method of
is that each person has a built-in drive or instinct ly abstract images that were being made in the study described three levels or strata to be con-
that enables him to develop gradually and integrate 1930's. For Herbert Read the process of integration of sidered. The first is the 'primary or natural subject
as an independent individual in the society in which the artist is never complete. The artist is continuing matter which consists of representations of natural
he lives. the process of building his own reality. Whatever the objects such as human beings, animals, plants, etc.'
The steps by which this is accomplished follow a apparent subject matter the power of a work of art' Next is the secondary or conventional subject matter
pattern of stress, normally similar for everybody, in will derive from a new interpretation in symbolic form which is 'apprehended by realizing that a male figure
relationship to the people and objects forming the of archetypal themes; for example, the reclining with a knife represents St Bartholomew', so that the
individual's environment, and this environment will figures of Henry Moore. While these symbols are said primary subjects become associated as a concept or
affect the eventual success of the drive to integration. to have the general importance of an archetype they theme and can then be called images or allegories
When the elements of stress can be symbolized, as in are also intensely personal to the artist. The artist is or what can be called 'symbols'. The third level is
dreams or art, or articulated during psycho-analysis, recreating the world in his own image. This presents that of intrinsic meaning or content dealing with
then the inner tension, that is the result of the con- us with the great difficulty of all contemporary art: 'symbolical' value, of the whole, and its understand-
flicting elements that have been symbolized, is re- its symbols are unique and have not, and perhaps ing requires 'a familiarity with the essential tendencies
moved. According to the analysts there are at least never will, achieve the standing of conventional use of the human mind'.
two categories of symbol in art. One group of symbols described in the initial definition. It is the really ab- Here we have set forth an account of both the sym-
appears to be common to all people and to recur in stract work of a painter such as, for example, Douglas bolism of the parts of a painting forming its ostensible
succeeding civilizations. The second group is of per- Portway, that illustrates this radical change in the subject matter and also of the symbol of the whole
sonal, comparatively transitory symbols. The first use of the word 'symbol.' work. Panofsky clearly feels, to adapt a phrase of
group corresponds to Jung's archetypes of the collec- While analysts are aware of the importance of the Sherrington's, that the whole is greater than the sum
tive unconscious. Freud and his followers do not feeling associated with art symbols, the impression of its parts. In doing so he sweeps up the symbols of