Bergdolt K
Institut für Geschichte und Ethik der Medizin, Universität zu Köln.
Fortschr Neurol Psychiatr. 1995 Jul;63(7):255-63. doi: 10.1055/s-2007-996624.
The painting of the mentally ill has fascinated artists and their public throughout the 20th century. Yet the psychologically as well as art-historically interesting topic can be traced back over a long period in the history of Western culture. Aristotle emphasizes that all men who create great works, such as artists, philosophers, poets and politicians, are prone to melancholy, that excess of black gall which is characteristic of artists and depressive. Although Plato distinguished between creative and clinical mania, the topos of "genius and madness" prevails up to our century. The cult of melancholy is taken up bei Marsilio Ficino and becomes fashionable among the artists of the 16th and 17th centuries. During the Romantic period of the early 19th century the psychologically unstable or even sick intellectual and artist becomes the focus of attention. Artistic madness is glorified in an almost mystical fashion. However, disillusionment was soon to follow. Schopenhauer, Lombroso and many physicians stress the close relationship between genius and madness. However, they judge madness to be merely morbid and negative. During the 20th century the artists of the avantgarde show much interest in psychoanalysis and in the art of the mentally ill. The rise of National Socialism brought about a drastic break in the appraisal of the art of the mentally ill, which today is an acknowledged factor in contemporary art.
在整个20世纪，对精神病患者的描绘吸引了艺术家及其受众。然而，这个在心理学和艺术史上都饶有趣味的话题可以追溯到西方文化历史的很长一段时间。亚里士多德强调，所有创造伟大作品的人，如艺术家、哲学家、诗人和政治家，都容易患忧郁症，即艺术家和抑郁症患者所特有的黑胆汁过多。尽管柏拉图区分了创造性的躁狂和临床性的躁狂，但“天才与疯狂”的主题一直盛行到我们这个世纪。忧郁崇拜被马西利奥·菲奇诺所接受，并在16世纪和17世纪的艺术家中流行起来。在19世纪早期的浪漫主义时期，心理不稳定甚至患病的知识分子和艺术家成为关注的焦点。艺术上的疯狂以一种近乎神秘的方式得到颂扬。然而，幻灭很快就接踵而至。叔本华、隆布罗索和许多医生强调天才与疯狂之间的密切关系。然而，他们认为疯狂仅仅是病态的和消极的。在20世纪，先锋派艺术家对精神分析和精神病患者的艺术表现出浓厚兴趣。纳粹主义的兴起使对精神病患者艺术的评价发生了急剧转变，而如今这已成为当代艺术中一个公认的因素。
