Downloads: 3811

Files in This Item:
File Description SizeFormat 
Diaphanes_1_147.pdf4.13 MBAdobe PDFView/Open
Full metadata record
DC FieldValueLanguage
dc.contributor.author古川, 真宏ja
dc.contributor.alternativeKOGAWA, Masahiroen
dc.contributor.transcriptionコガワ, マサヒロja-Kana
dc.description.abstractIt is well known that psychiatry at the turn of the 19th century was applied not only to actual patients, but also to collective phenomenon in society and culture. This is especially true in arguments over degeneration, a notable example being Max Nordau's influential book of cultural criticism, Entartung (1892), in which he diagnosed the contemporary tendency of aestheticism as symptoms of hysteria, neurasthenia, and degeneration. However, the psychiatric findings did not just provide the premise for anti-modernists to make a critical attack on modern art, but also offered modern artists and their advocators several motives for creation as well as theoretical frameworks. Accordingly, for both camps, the state of mental or neurotic illnesses came to be regarded as the manifestation of modernity. By acknowledging the rise of concern over psychiatry among artists, this paper examines the case of Gustav Klimt, the prominent painter of Wiener Moderne. The exhibition "Madness and Modernity, " held at the Wellcome Collection in London in 2009, is the first attempt to introduce the general situation of the influences of psychiatry to the field of fine art in Vienna. However, it focused on the works directly related to psychiatry; for example, hospital buildings, portraits of the mentally ill, and so on. It is a fact that Klimt's paintings never indicate the apparent relationship to psychiatry, but abnormally debilitated and voluptuous female figures in his works are comparable to the subject of medical discourse, namely the pathological body. Also, in the scandal over Klimt's faculty paintings for the University of Vienna, the ugliness of his female figures was "pathologized" by rhetorical schemes of medical terminology and ascribed to the painter's "madness." In the Chapter I, I will highlight the pathological features of Klimt's work and illuminate the strategic advocacy for the painter, through analyzing the reviews compiled in the book titled Gegen Klimt (1903) by Hermann Bahr, one of the most enthusiastic critics supporting Klimt. Some opponents of modern art diagnosed the symptoms of hysteria and neurasthenia in Klimt's female figures as Nordau did for contemporary artists. These two illnesses are the main subject not only of pathological clarification, but also of aestheticization for modernists. In that sense, hysteria and neurasthenia are no other than the focal point of both medicine and art. In Chapters II and III, I will discuss how the images of hysteria and neurasthenia were transformed into artistic motives and reflected in Klimt's method of portraying women. Through the above discussion, this paper aims at recapturing fin-de-siècle psychiatric medicine from an artist's perspective, and clarifying that psychiatry functioned as a driving force for the modernization of art.en
dc.publisher.alternativeAtsushi Okada Laboratory, Graduate School of Human and Environmental Studies, Kyoto Universityen
dc.title.alternativeThe Art of Pathological Body in Fin-de-siècle Vienna: A Study of Gustav Klimt's Female Figuresen
dc.typedepartmental bulletin paper-
dc.type.niitypeDepartmental Bulletin Paper-
dc.identifier.jtitleディアファネース -- 芸術と思想ja
dcterms.accessRightsopen access-
dc.identifier.jtitle-alternativeDiaphanes: Art and Philosophyen
Appears in Collections:第1号

Show simple item record

Export to RefWorks

Export Format: 

Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.