By James W. Hamilton
James Hamilton’s enticing ebook bargains us his personal designated perception into the subconscious components desirous about the artistic procedures linked to portray, filmmaking, and images by means of learning the lives and works of a few artists, every one having a special own style.
In separate chapters, he appears to be like 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 standpoint, with emphasis on subconscious motivation and the hunt for mastery of intrapsychic clash. The booklet is sure to motivate additional questions and hypotheses in regards to the nature of those advanced phenomena.
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Additional resources for A Psychoanalytic Approach to Visual Artists
Joseph also enjoyed penny arcades, which offered a wide range of visual phenomena otherwise inaccessible to him. Cornell’s father was a gregarious, charming person who was a fabric designer for a wool manufacturer, and commuted daily to his job in Manhattan, often coming home in the evening with small gifts such as candy, magazines, and sheet music for his children. He was also a skilled woodworker and specialized in making furniture and model boats. From time to time, he would vanish suddenly and might have been a binge drinker.
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).
What I do remember is being transfixed, swept up really, by the eloquent simplicity of the paintings that Rothko began to do in 1949. Empty and luminous, they seemed ebullient, ecstatic, a visionary alternative to the entanglements of my daily life. Yet their emptiness sometimes seemed a void, an annihilating vacancy that came from some profound sense of loss. Both Rothko’s elation and his despair were moods I was particularly ready to experience in January of 1979. , p. 554) In selling a painting, Rothko was highly selective about his buyers, wanting them to react emotionally to it in his studio and often refusing to permit a purchase if this did not happen.