By James W. Hamilton
James Hamilton’s attractive ebook deals us his personal particular perception into the subconscious elements occupied with the artistic methods linked to portray, filmmaking, and images by means of learning the lives and works of a couple of artists, every one having a special own style.
In separate chapters, he appears on the lives and works of Mark Rothko, Joseph Cornell, Piet Mondrian, Pablo Picasso, Clement Greenberg, Edward Weston, Ingmar Bergman, François Truffaut, Quentin Tarantino, and Florian von Donnersmarck from a psychoanalytic point of view, with emphasis on subconscious motivation and the hunt for mastery of intrapsychic clash. The publication is sure to inspire extra questions and hypotheses in regards to the nature of those complicated phenomena.
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Extra info for A Psychoanalytic Approach to Visual Artists
Being a keen student of astronomy since his days at Andover and subscribing to journals on the subject, he went on to do another series on the constellations, a consequence also of the loss of his father. When in New York, Cornell liked to sit in the rotunda at Grand Central where, besides the pleasure he got from studying the people coming and going from trains, there was “elation at looking up at the celestial blue heavens and golden constellations on the ceiling—thought of the Milky Way JOSEPH CORNELL 33 star dust and scattering of bread crumbs in the morning for the birds at home” (Cornell, 1993, p.
P. 399) Cornell also had an affinity for the songs of Jacques Brel, which are highly nostalgic. In the psychoanalytic literature, nostalgia has been construed as “a wish to return to an idealized past,” often realized in “a reunion with nature,” is “associated with an inability to mourn” and can be “a strong defense against fear of death” (Kleiner, 1970). Merger with the pre-Oedipal mother due to unresolved orality is a crucial dynamic factor in nostalgia, which is often mistaken for homesickness because of the way it is defined in dictionaries (Fenichel, 1945).
In January 1957, he acknowledged: “Everything I do now is different, as if I were writing the Magic Flute—one day Sarastro, one day MARK ROTHKO 5. 6. 7. ” Like a Rothko painting of that time, this opera is, beneath the superficial beauty of its score, basically a tragic work (Kingsley, 1992, p. 43). The only artists who really mattered to Rothko were Shakespeare and Mozart and he wanted to be “the Mozart of painting” (Breslin interview with Albert Grokest, January 24, 1986). ” Chave (1989) has demonstrated that in certain of Rothko’s more abstract paintings of the mid-to-late 1940s, when he was moving away from surrealism, one can recognize human outlines suggestive of pietas and madonnas with child, thereby, establishing a progression from the more to the less representational, culminating in the multiform iconography (pp.
A Psychoanalytic Approach to Visual Artists by James W. Hamilton