Page 65 - Studio International - July August 1973

configuration, the playful urge (evinced in concerned about establishing an inventory ofthe theories against a background of examples
uninhibited scribblng or doodling), the characteristics of schizophrenic art for drawn fiom a wide range of sources — these
decorative urge (desire to enrich one's diagnostic purposes such as has more recently two works constitute the great dual milestone
surroundings through ornamentation), the been drawn up by Helmut Rennert. Prinzhorn on the modern road of inquiry into the
ordering tendency (development of symmetry rather seems to reject the utilitarian conception disturbing and poignant art of the mentally
and rhythm), the copying urge (mimetic of what he is about, and in defining creativity as ill.
tendency), the need for symbols (intimation of something foreign to social purpose, something ROGER CARDINAL
significance in forms), and so on. almost metaphysical, he moves close to an
The schema offers a basis on which Prinzhorn aesthetic position, even gesturing towards
can develop his notion of the processes of criteria of value. Perfection in the work of art, The thought of what America
Gestaltung (shaping, configuration). Here, as he tells us, is 'the highest degree of vitality given Winslow Homer by John Wilmerding.
James L. Foy points out in his useful the most consummate expression'. At moments Praeger. $3o.00.
introduction to the English edition, Prinzhorn's like this, Prinzhorn is revealed as the very American Primitive Painting by Jean Lipman.
approach is grounded in Gestalt psychology and opposite of a dispassionate scientist inclined to Dover and Constable. £2.00.
in particular in the ideas of the art historian scepticism; his is a vitalistic humanism that
Conrad Fiedler, who anticipated the Gestaltists instinctively rejects any mechanistic explanation The thought of what America would be like
in his contention that perception is essentially of psychic processes. When he speaks of an if the classics had a wide circulation troubles my
an organizational process, a will-to-form that `original configurative instinct intrinsic to all sleep.
finds its natural extension in the creative act. men' and lets it be understood that the pictures Winslow Homer, completely Yankee in both
Prinzhorn also acknowledges a debt to the work he is showing us cannot be dismissed as mere senses, was born in utter Boston 24 February
of the philosopher and psychologist Ludwig scrawlings without significance for sane minds, 1836, and he died, so to speak, 29 September
Klages, who had evolved a theory of expressive we are bound to see him as an impressive 1910, a stone's throw in time, both at entrance
gesture according to which direct expression of precursor of more recent opponents ofthe and exit, from the consummate American,
psychic elements can be achieved at all levels reactionary, segregationist view of insanity. Mark Twain. Both artists considered as
of activity, from blushing or moving a limb to In his last section, Prinzhorn summarizes his `quintessential Americans', begin to flourish
drawing or writing. Klages had based his ideas findings and, wisely, offers suggestions rather about the Civil War, and both, on opposite
on analysis of handwriting, though he had than dogmatic conclusions. He points out the sides, were changed by their experiences in that
touched on drawing too. Prinzhorn takes up the surprising coincidence of formal patterns — funny struggle.
enquiry by examining disordered scribblings totemic stylizations of the human form in Yet, on both sides of his family, Winslow
done by mental patients that are barely more particular — to be found in the art of the Homer's forbears had been engaged in shipping,
than the product of motor reflexes, and then mentally ill, of children, of primitive peoples, of trading or importing, the last of which was the
progresses gradually to more deliberate and folk artists, of mediumistic artists, and so on. business of his father, Charles Savage Homer.
more complex modes of configuration, such as These correspondences are stressed by carefully That was his own business, and New England's
decorative designs and symbolic representations chosen illustrations of comparative material, long deep alliance with the sea was to inspire
of external objects. A constant supply of though the impact ofthis should not be allowed the latter part of the painter's career. He spent,
illustrations of items from the Collection to swamp a measure of caution. For example, we are told, a little while in Gotham (during his
accompanies this impressive demonstration. Brendel's carvings certainly do bear an uncanny youth), travelled twice to experience in Europe,
Prinzhorn tries a different tack in a long resemblance to certain pieces produced by and made regular trips to the Adirondack
middle section that occupies almost half the Polynesian artists: yet what does this Mountains and to the Caribbean Isles.
volume. Here he deals in detail with the work resemblance really signify in respect of the Nevertheless, Homer's strongest ties were to
often creators whose work has obvious artistic processes involved, given that the former is a New England, and for the last three decades of
interest. Summarizing the clinical case-history European psychotic who worked in isolation his life he hid in a place no one's heard of called
of each, he goes on to discuss individual works under the influence of personal desires and Prout's Neck, Maine.
in terms of their expressive form. Some of these fantasies, while the latter work was carried out Winslow Homer was a realist who fell
have considerable power. It may be that the according to strict rules dictated by a collective between the last members of the Hudson River
cryptic drawings and self-engrossed notations sense of what is appropriate to a work of art and School and, chronologically, of course, such
of Heinrich Welz and August Klotz are too what is not ? Formal correspondences may not romantic cases as Albert Ryder, who painted
secretive, *oo conceptual for average tastes after all reflect a common intention or a common with chairs and hot glass and fond old hearts.
(though readers of Studio International may well process (unless we are prepared to accept that He, Homer, began as a lithographer's assistant
respond to the suggestion that they are less the analogy between the schizophrenic and the at the age of nineteen. He held on to this until,
interested in drawing than in elaborating primitive mentality is more than just a two years later, the boss kicked his ass out.
systems), but the wooden carvings of Karl metaphor). During these two years, however, he produced
Brendel, with their aggressive sexuality, and All in all, this is a remarkably stimulating some fine examples of early Victorian
the fantastic water-colours of Franz Pohl are book which, fifty years on, still engages philosophical art, such as a music-sheet cover
undoubtedly works of potentially wide appeal. admiration for its sensitive sounding of entitled The Ratcatcher's Daughter; another
Does Prinzhorn in fact consider these works problems that remain very much open, despite 'dept Katy Darling, depicting a man clutching
to be 'Art' ? Throughout his book he is careful the excellent work done since the last war by a gravestone, Katy's; and a pencil and
to stick to neutral terms like Bildnerei, which such specialists as Kris, Plokker, Bader and watercolour work quaintly hicht Setting a
literally means 'image-making', and in the Navratil. What is now called for is an English Squirrel Trap. Anyhow, the man kicked his
German does not have the connotation of skill version of that other classic early work on art ass out, so he set up his own studio.
of the English word 'artistry'. Prinzhorn clearly and madness, Walter Morgenthaler's This is not a biography of police and Winslow
sought to be objective and impartial, and to monograph on Adolf Wölfli, which appeared Homer. The painter went to Paris, of course,
maintain a phenomenological rather than an under the title Ein Geisteskranker als Künstier and copied the photographic effects of strong
evaluative stance. But though he may attempt (A Madman as Artist) in 1921, a year before gargoyles at Notre Dame. Earlier, however, he
to be clinical, he often appears to resist drawing Prinzhorn's book. Taken in conjunction — the made a trip, in the autumn (the fall) of 861,
up the balanced conclusion that one should one book moving from a specific case to posit to the front of the Civil War. The front was at
expect of a scientist. For instance, he is not very general principles, the other developing general this time nowhere at all, the Union soldiers all

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