A Psychoanalytic Approach to Visual Artists by James W. Hamilton

By James W. Hamilton

James Hamilton’s enticing ebook deals us his personal designated perception into the subconscious elements fascinated with the inventive tactics linked to portray, filmmaking, and images by means of learning the lives and works of a couple of artists, each having a different 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 standpoint, with emphasis on subconscious motivation and the hunt for mastery of intrapsychic clash. The ebook is sure to inspire additional questions and hypotheses in regards to the nature of those complicated phenomena.

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A Psychoanalytic Approach to Visual Artists

James Hamilton’s enticing e-book bargains us his personal special perception into the subconscious components keen on the artistic tactics linked to portray, filmmaking, and images through learning the lives and works of a couple of artists, each having a special own type. 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 standpoint, with emphasis on subconscious motivation and the hunt for mastery of intrapsychic clash.

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P. 347) In summary, the life of Joseph Cornell has been reviewed to demonstrate the influence of early object loss and the failure to grieve and mourn upon his art, where he sought repetitively to attain mastery of these core conflicts while relying concurrently on nostalgia to minimize the significance of time and death. The dream was a critical element of his creative mode, permitting him to symbolically merge with the breast and then transpose the manifest content into a discrete work. Notes 1.

He was absorbed with nostalgia, which is conveyed in excerpts from his diaries (1993). July 15, 1946: Smell of gasoline brings back days of childhood father’s boat. (p. 130) JOSEPH CORNELL May 21, 1949: one morning dusting and playing Raquel Meller records with a subsequent evocation of remarkable vividness of the original experience connected with seeing her 1925 etc. The above is a familiar experience attempting to capture certain moments of a real kind of happiness but only seeming to come out in the most factual kind of recounting.

357). With each work, he tried to produce “a painted image that might transfer his thought directly into the viewer, with no intervening impediments to their communion,” which addresses one aspect of the omnipotence of thought in the early mother–infant relationship (Kingsley, 1992, pp. 33–34). “I’m interested,” he disclosed only in expressing basic human emotions—tragedy, ecstacy, doom, and so on—and the fact that lots of people break down and cry when confronted with my pictures shows that I communicate those basic human emotions .

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