This senior thesis will primarily investigate artistic creativity, its relationship to psychological well-being and the power of the creative process to help harmonize internal tensions caused by either mental disorders or former traumas. I will accomplish this, first by offering a brief explanation of the evolution of creative thought, followed by various scientific explorations and theories of the connection between varying mental states and creation. I will support these findings with an analysis of the lives and works created by the painters Vincent Van Gogh, Pablo Picasso, and Frida Kahlo, all subjects of public speculation about the state of their mental health and its impact on their work. This analysis will consider the creative process as a form of psychotherapy. I will conclude by sharing a personal examination of my own history with mental health and trauma and my representation of these experiences and my ability to overcome these events in my paintings for this senior project.

Thesis (M.A.)--Marshall University, 2003. / Title from document title page. Document formatted into pages; contains iv, 80 p. including illustrations. Bibliography: p. 73-78. "Works cited": p. 67-72.

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I denna uppsats undersöks katalogtexter producerade eller reproducerade av Moderna Museet i Stockholm om Pablo Picasso och Marcel Duchamp. Texterna undersöks, med utgångspunkt i museets egna påstående att konstnärerna ofta utmålas som varandras motsatser, ur ett narratologiskt perspektiv. Förekomsten av argumenterande passager, performativa yttranden, textagentens positionering samt värdering av konstnärskapen undersöks och en jämförelse görs mellan katalogerna och de två konstnärskapen. Undersökningen syftar till att ge en ingång till en förståelse för hur katalogtexter genom en aktiv narration skapar en normerande bild av konstnärskap.

El objetivo de la tesis es demostrar la influencia de la pintura pompeyana en la obra realizada por Picasso entre 1905 y 1907. Influencia que se apoya en el entorno picassiano y en el arte románico catalán a partir de Gósol.El origen de esta tesis se encuentra en los cursos que impartí en la Universidad Ramon Llull (2005-2006). La doble faceta de pintora e historiadora del arte me permitió aportar a los alumnos la experiencia del pintor además de la del historiador. En las clases insistía en la independencia del lenguaje pictórico y estimulaba la búsqueda de todos los cuadros que están detrás de un cuadro. En este sentido, mostraba "La toilette" y el "Pastor con cesto" de Gósol junto a sus modelos pompeyanos. Mi discrepancia con la historiografía (vincula "La toilette" y "El harén" con el "Baño turco" de Ingres) así como la nueva luz que aportaban los parámetros interpretativos pompeyanos sobre el trabajo realizado por Picasso en esta época y la ausencia de investigaciones acerca de la influencia de la pintura pompeyana en la picassiana durante estos años, me decidieron a centrar mi tesis en esta temática.Las lagunas y errores detectados en el estado de la cuestión, me aportaron la seguridad de que la superficialidad con la que se habían estudiado las obras de este ciclo había comportado una simplificación de las mismas y comprendí que podían superarse muchas de las ideas vertidas por la historiografía sobre esta época.Fijación del período: el impacto causado por la venta de los frescos de Boscoreale en París (1903) liberó y canalizó los intereses de Picasso por la pintura pompeyana y el mundo panhelénico. Puede rastrearse la huella de la influencia pompeyana siguiendo las trazas del rojo cinabrio en las composiciones picassianas desde finales de 1904. Comienzo La investigación con "Desnudo sentado" (1905) donde, Picasso, reproduce el cromatismo pompeyano (tierras, rojizos), la apariencia del fresco y adapta la postura de Madelaine a un modelo pompeyano. Cierro la investigación con "Las señoritas" puesto que en este cuadro el artista culmina el diálogo mantenido desde 1905 con la pintura pompeyana y las religiones paganas.El riguroso proceso analítico me ha conducido al interpretativo y este estricto método me ha facilitado respuesta a la pregunta inicial ¿De qué manera ha incidido la pintura pompeyana en la obra picassiana? Pudiendo resolver el enigma desde antes de Gósol hasta "Las señoritas".Principales conclusiones:1- Los modelos pompeyanos son vehículo para la representación de un proyecto filosófico-mágico-religioso y plástico: la búsqueda del desarrollo espiritual, el conocimiento y la inmortalidad según pautas de las antiguas religiones mistéricas.2- Importancia del esoterismo y opio.3- Rojos, rosas, tierras, ocres y azules proceden de la paleta pompeyana. La transición de la época azul a la rosa viene determinada por la paulatina introducción del rojo cinabrio pompeyano.4- El retrato de Circe ("La mallorquina") inaugura las representaciones del viaje al Hades.5- "Kouroi" y niñitos simbolizan el estado en el que se accede y se sale del Hades.6- "La toilette" y "El harén" representan la iniciación de Fernande.7- Introducción del concepto de "templo-burdel" de "diosa-prostituta".8- Introducción del concepto de "bodegón votivo".9- Eclosión de la influencia pompeyana en Gósol. Traducción del primitivismo ambiental. Fusión conceptual e iconográfica de modelos pompeyanos y románicos.10- El románico proporciona a Picasso la máscara de la divinidad. Los retratos gosolanos de Fernande no son inexpresivos sino divinos: Ceres, Venus...11- Desarrollo de un sistema personal de símbolos mediante objetos cotidianos. Fusión de liturgia pagana y cristiana.12- La búsqueda del equilibrio por saltimbanquis y acróbatas es una metáfora del trabajo de equilibrio realizado por el iniciado.13- Las señoritas es una gran teofanía pagano-cristiana en la que Picasso (artista y sacerdote) revela los misterios mediante los cuales lo mortales, como él, revivirán la experiencia de Baco y alcanzarán la unidad superior.En "Las señoritas", Picasso replantea la antigua función sagrada del sexo. Posiblemente, el problema más grave con el que se ha enfrentado su interpretación ha sido la focalización del sexo como mecánica prostibularia. Esta asociación quizás no ha permitido a la crítica entender el sexo como lo exponía Picasso, como algo sagrado y salvaje al mismo tiempo, uniendo animalidad y misticismo en un único escenario. / "PICASSO'S ICONOGRAPHY BETWEEN 1905 AND 1907. THE INFLUENCE OF POMPEIAN PAINTING".By Conxita Boncompte Coll.TEXT:The objective of the thesis is to demonstrate the influence of Pompeian painting on the work Picasso produced between 1905 and 1907, an influence that was supported by Picasso's milieu and his experience of Catalan Romanesque from his stay in Gósol.The source of my thesis lies in courses I taught at the Ramon Llull University (2005-2006). My dual facets of painter and art historian meant that I could bring my students my experience as a painter as well as a historian. In my classes I insisted on the independence of all pictorial language by encouraging a search for all the pictures that lie behind a picture. I therefore showed "La Toilette" and "Shepherd with Basket" from Gósol alongside their Pompeian models. It was my discrepancy with historiography (which links "La Toilette" and "The Harem" with Ingres' "The Turkish Bath"), as well as the new light thrown by Pompeian interpretative parameters on Picasso's work of the period, and the absence of research on Pompeian painting and its influence on Picasso's work during these years, that decided me to centre my thesis on this issue.Gaps and errors that I detected in the state of the art convinced me that the superficiality with which the works of this period had been studied had drawn a veil of banality over them, and I realised that many of the ideas employed by historiography on the period required a re-reading.Establishing the period: the impact caused by the sale of the Boscoreale frescos in Paris (1903) awakened and shaped Picasso's interest in Pompeian painting and the Panhellenic world. This Pompeian influence can be tracked by following the traces of cinnabar red in Picasso's compositions from late 1904 onwards. The research begins with the "Seated Nude" (1905) where Picasso reproduces Pompeian chromatism (earths, reddish shades), the appearance of the fresco, and adapts "Madelaine'"s posture to the Pompeian model. It ends with the "Les Demoiselles d'Avignon", the picture with which the artist culminates his dialogue, maintained since 1905, with Pompeian painting and the pagan religions.This rigour of the analytical process has led the process of interpretation, and the strict method followed has allowed me to find answers to the questions I set myself at the outset - about the influence of Pompeian painting on Picasso's work - and resolve the enigma from before Gósol to the "Les Demoiselles".Key findings:1- Pompeian models are a vehicle for presenting a philosophical-magic-religious and plastic project: the search for spiritual development, knowledge and immortality based on the ancient mysteric religions.2- The importance of esotericism and opium.3- Reds, pinks, earths, ochres and blues come from the Pompeian palette. The transition from the blue to the pink period was marked by the gradual introduction of Pompeian cinnabar red.4- The portrait of Circe ("La Majorquine") is the first in a series of representations of the journey to Hades.5- "Kouroi" and small children symbolise the state in which we arrive at and depart from Hades.6- "La Toilette" and "The Harem" represent Fernande's initiation.7- The introduction of the concepts of "temple-brothel" and "goddess-whore".8- The introduction of the concept of "votive still-life".9- The emergence of the Pompeian influence in Gósol. The translation of environmental primitivism. The conceptual and iconographic fusion of Pompeian and Romanesque models.10- The Romanesque gave Picasso the mask of divinity. The Gósol portraits of Fernande are not inexpressive but divine: Ceres, Venus, etc.11- The development of a personal system of symbols from everyday objects. The fusion of pagan and Christian liturgy.12- The search of tumblers and acrobats for balance is a metaphor for the work on balance carried out by the initiated.13- "Les Demoiselle"s is a great pagan-Christian theophany in which Picasso (artist and priest) reveals the mysteries through which mortals like him can relive the experience of Bacchus and attain a higher unity.In "Les Demoiselles", Picasso returns to the ancient sacred function of sex. Possibly the most serious problem in its interpretation has entailed the focalisation of sex as a mechanism of the brothel. This association may have hindered critics from understanding sex as Picasso portrayed it, as something sacred but wild, uniting animality and mysticism in the same scenario.

The erosion of traditional French academic methods of picture-construction, and the eclipse of hierarchical subject-matter, ensured the emergence of a diversity of new painting styles in France by 1900 and the possibility of even more drastic departures from tradition in the 20th century, particularly in the work of Picasso, from 1900 to 1914.

In this thesis, I examine Gwendolyn Brooks’s diptych poems “Two Dedications” from her 1968 collection In the Mecca. Critical accounts of “Two Dedications” cast the poems as fixed oppositions between “frivolous” Western art and inspiring, communal black art. I propose that such binaries are reductive and overlook the intellectual benefits Brooks locates in abstract modernist art. Using Ezra Pound’s theories of modernist difficulty, Walter Benjamin’s concept of artistic “aura,” and the Black Arts Movement (BAM) manifestoes of Ron Karenga and Larry Neal, I argue that Brooks’s poems demonstrate the benefits of both abstract Western art and representational BAM art. Specifically, Brooks suggests that both types of art provide avenues for self-determination and liberation from institutional conventions.

Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-02-28Bitstream added on 2014-06-13T20:08:08Z : No. of bitstreams: 1 mori_fm_me_arafcl.pdf: 2328680 bytes, checksum: b0b4c21e9bdae27a2ea8a629f9f3077a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O trabalho intitulado A construção da imagem em O Espelho in Primeiras Estórias de João Guimarães Rosa e em Las Meninas de Pablo Picasso foi desenvolvido com o objetivo de analisar semioticamente as obras O Espelho, conto presente na coletânea Primeiras Estórias de João Guimarães Rosa, e Las Meninas, tela de Pablo Picasso, cujo ponto de partida foi a obra de mesmo nome do artista barroco Diego Velázquez, e, diante dessa análise, teoricamente embasada, pontuar uma possível intersecção entre ambos os textos, já que pertencem claramente ao campo da interdiscursividade. Verificou-se que a linguagem plástica, usada por Pablo Picasso, pintor do século XX, distancia-se dos elementos plásticos barrocos seiscentistas, havendo, em ambos os textos, uma oposição clara aos princípios clássicos. O Ator-pintor, presente nas telas cubista e barroca, simboliza a própria Arte que, apesar do transcorrer do tempo físico, é atemporal. Com relação ao conto, o jogo incessante de palavras, rimas internas, entre outros elementos, pontua o barroquismo frásico rosiano e, além de demarcar o ponto central da coletânea de Primeiras Estórias, questiona a forma e a existência da imagem em suas diversas maneiras de entendê-la. Sendo o “espelho-tempo-imagem” o principal ponto de intersecção entre textoverbal e texto-visual nesta análise, é ele que desencadeia o despir das formas no conto rosiano e as anamorfoses no retrato de Picasso, que é o Outro em relação à obra velazquiana, questão proposta e trabalhada ao longo deste estudo. O elemento “espelho-tempo-imagem”, que propõe a discussão sobre diferentes relações, entre as quais o enunciado Arte e a enunciação pressuposta (enunciador e leitor/espectador) gera um caminho de duplo sentido, mobilizando, por sua vez, esta dissertação. / This paper entitled The construction of the image in João Guimarães Rosa’s O Espelho in Primeiras Estórias and in Pablo Picasso’s Las Meninas was developed with the purpose of semiotically analyzing the works O Espelho, a short story present in João Guimarães Rosa’s Primeiras Estórias and Pablo Picasso’s painting Las Meninas, whose starting point was the baroque artist Diego Velázquez’s painting that has the same name, and from this analysis, theoretically based, to point out a possible intersection between both texts, since they clearly belong to the field of interdiscursiveness. It was verified that the plastic language used by Pablo Picasso, a twentieth century painter, distances itself from the sixteenth century baroque plastic elements, and there is in both texts a clear opposition to the classical principles. The author-painter, present in the cubist and baroque paintings, symbolizes Art itself which, in spite of the elapse of physical time, is atemporal. In relation to the short story, the incessant game of words, internal rhymes and other elements punctuates Guimarães Rosa’s phrasal baroqueness and, besides demarcating the central point of the collection Primeiras Estórias, questions the form and existence of the image in the diverse ways it can be understood. Since the “mirror-time-image” is the main point of intersection between the verbal text and the visual text in this analysis, it is what initiates the undressing of the forms in Guimarães Rosa’s short story and the anamorphoses in Picasso’s painting, which is the Other in relation to Velasquez’s work – a point that is proposed and worked throughout this study. The element “mirror-time-image”, which proposes the discussion regarding different relations, among them the enunciate Art and the presupposed enunciation (enunciator and reader/spectator), generates a path of double sense which, in its turn, mobilizes this dissertation.

Tese (doutorado)—Universidade de Brasília, Instituto de Psicologia, Departamento de Psicologia Clínica, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2017. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2017-07-14T15:15:42Z No. of bitstreams: 1 2017_AndreLuizPicollidaSilva​.pdf: 4546873 bytes, checksum: 9ea279306555d064e3fbef91d72bc1d3 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-09-19T15:06:30Z (GMT) No. of bitstreams: 1 2017_AndreLuizPicollidaSilva​.pdf: 4546873 bytes, checksum: 9ea279306555d064e3fbef91d72bc1d3 (MD5) / Made available in DSpace on 2017-09-19T15:06:30Z (GMT). No. of bitstreams: 1 2017_AndreLuizPicollidaSilva​.pdf: 4546873 bytes, checksum: 9ea279306555d064e3fbef91d72bc1d3 (MD5) Previous issue date: 2017-09-19 / De todas as construções humanas, a arte, talvez seja a que mais contribuiu para nos tornar humanos. No centro de toda cultura encontramos o impulso para criar objetos, interpretar cenas, produzir imagens, sons e movimentos, sendo os artistas, vistos como seres especiais, quase míticos. Um exemplo desse sentimento é o que encontramos em relação ao pintor espanhol Pablo Picasso (1881-1973), considerado como um dos principais artistas do período moderno e influenciador da estética contemporânea. Suas pinturas causaram um grande impacto na Europa e muita repercussão no resto do mundo, porém, a razão pela qual tantas pessoas ficaram fascinadas com as imagens por ele produzidas ainda é uma incógnita. Buscando compreender essa questão a partir de uma perspectiva psicanalítica, levanta-se a hipótese de que isso ocorreu devido a intensa manifestação de Eros sobre o artista, que produziu obras com fortes marcas dessa manifestação facilitando assim o processo de sublimação do público identificado com suas obras. Baseado nisso, o presente trabalho constitui-se em uma narrativa sobre a estética do desejo em Pablo Picasso, tendo por objetivo investigar a dinâmica inconsciente do artista por meio de sua produção, bem como, identificar de que modo sua obra se caracterizou também como um sintoma da cultura. Para tanto, foram realizadas observações de pinturas gravuras e desenhos do pintor que se encontram no acervo de museus da Espanha e do Brasil, bem como de obras que se encontram publicadas em literaturas específicas sobre a arte de Pablo Picasso. A partir disso, foram selecionadas algumas obras que, devido suas características, permitiam uma melhor observação da manifestação de Eros sobre o artista e, em seguida, foi realizada uma análise relacionando-se os elementos existentes nestas obras, a biografia do artista e conceitos da teoria psicanalítica. Posteriormente, visando uma melhor contextualização do fenômeno estudado, foram identificadas as principais características psicológicas da sociedade da época em que Picasso viveu, de modo a compreender em que medida ocorreram identificações entre a cultura e as produções do artista. Ao discutir os dados produzidos nesse processo constatou-se que a obra de Picasso apresentou uma grande mutabilidade ao longo do tempo devido as diversas formas de manifestação das pulsões do artista visando garantir a realização de desejos como: o desejo de liberdade, de querer mudar a realidade, de ser um objeto de amor e de querer controlar o outro. Tais manifestações, aliado ao alto grau de narcisismo encontrado na obra de Picasso, vão de encontro as principais características identificadas na sociedade em que que Picasso viveu, o que, dentro da narrativa produzida, confirma a ideia de que arte produzida por ele se configura em um sintoma da cultura. Por fim, concluiu-se o presente trabalho constatando que Picasso deu livre vazão as manifestações de Eros que sentia em si e, desse modo, construiu uma estética que reflete a realização de seus desejos narcisistas. Tal estética serviu como meio ideal para que indivíduos da sociedade moderna e contemporânea, identificados com sua obra, pudessem sublimar seus desejos com características semelhantes, razão pela qual entendemos, que tantas pessoas se fascinaram e ainda se fascinam pela obra de Pablo Picasso. / Of all human constructions, art may be the one that most contributed to make us human. At the center of every culture is the impulse to create objects, to interpret scenes, to produce images, sounds and movements, and the artists are seen as special beings, almost mythical. An example of this feeling is what we find in relation to the Spanish painter Pablo Picasso (1881-1973), considered as one of the main artists of the modern period and influential of contemporary aesthetics. His paintings have had a great impact on Europe and much repercussion in the rest of the world. However, the reason why so many people were fascinated with the images produced by him is still unknown. Seeking to understand this question from a psychoanalytical perspective, the hypothesis arises that this happened due to the intense manifestation of Eros on the artist, who produced works with strong marks of this manifestation facilitating the process of sublimation of the public identified with his works. Based on this, the present research constitutes a narrative about the aesthetics of the desire in Pablo Picasso, aiming to investigate the artist's unconscious dynamics through his production, as well as to identify in what way his work was also characterized as a symptom of the culture. To that end, observations were made of paintings of the painter's drawings and drawings found in the collection of museums in Spain and Brazil, as well as works that are published in specific literatures on the art of Pablo Picasso. From this, some works were selected which, due to their characteristics, allowed a better observation of the manifestation of Eros on the artist, and then an analysis was made relating the elements existing in these works, the artist's biography and psychoanalytic theory. Later, in order to better contextualize the studied phenomenon, the main psychological characteristics of the society of the time in which Picasso lived were identified, in order to understand to what extent identifications occurred between the culture and the artist 's productions. In discussing the data produced in this process it was found that the work of Picasso showed a great mutability over time due to the various forms of manifestation of the artist's drives in order to guarantee the fulfillment of desires such as: the desire for freedom, reality, of being an object of love and of wanting to control the other. These manifestations, together with the high degree of narcissism found in Picasso's work, go against the main characteristics identified in the society in which Picasso lived, which, within the narrative produced, confirms the idea that art produced by him is shaped by A symptom of culture. Finally, the present work was concluded, stating that Picasso gave free flow to the manifestations of Eros that he felt in himself and, in this way, constructed an aesthetic that reflects the fulfillment of his narcissistic desires. Such aesthetics served as an ideal means for individuals of modern and contemporary society, identified with their work, to sublimate their desires with similar characteristics, which is why we understand that so many people were fascinated and still fascinated by the work of Pablo Picasso.