The Expression Theory of Art
There are many different theories for the interpretation of art. Two main theories are the expression theory and the cognitive theory. The expression theory holds that art expresses emotions and feelings. The cognitive theory holds that art communicates knowledge through the use of symbols and does not emphasize the significance of emotion as much as expression theories. The expression theory of art is the most effective and sufficient method for interpreting the meaning of art and understanding what the artist was feeling emotionally.
Leo Tolstoy, a Russian novelist and proponent of the expression theory, believed that an artist’s purpose was to express their emotions to their viewers. In Tolstoy’s essay, What is Art?, he said, “To evoke in oneself a feeling one has once experienced and having evoked it in oneself then by means of movements, lines, colours, sounds, or forms expressed in words, so to transmit this feeling that others experience the same feeling – this is the activity of art…” (Freeland 155). An artist may experience an emotion that gives them inspiration to create a work of art that expresses that emotion. It is true that every day they work on that piece they may not feel the specific emotion that they are expressing but that does not mean they lose sight of that emotion. An artist can take an emotion or feeling they experienced at one moment in time and hold onto it to share it through their artwork. When people view their artwork they are going to feel the same emotion that the artist had. “Some theorists focus on the controlled display of individual thoughts and feelings that the disciplined imagination is able to externalize in a work of art, such that others gain an understanding of the artist’s unique insights” (Korsmeyer 31-32).
Plato wrote of Socrates beliefs on art in Republic. Socrates believed there were three levels of truth. The handicraftsman or natural maker was full of knowledge of the truth and Forms. The craftsman was the manufacturer who tried to make copies of the Forms, but they are never exactly like the Form. They listen to the user of the item to get the correct belief on the good and bad qualities of the item. They are second removed from the truth. An imitator is a craftsman of an image. Imitators do not have knowledge or correct beliefs. They are third removed from the truth. Socrates believed artists were imitators (Plato 297-301).
Socrates believed artists, or imitators, imitated tragedy, humor, and all other emotions. The artist was imitating an emotion they had felt or wanted their audience to feel. The act of imitation was a form of expression. Socrates felt this was harmful to society because it corrupted people with false information. Imitations are third removed from the truth and can interfere with the elements of the soul (Plato 309-310).
Socrates felt that there were two elements to the soul. There was a rational element and an inferior element. The rational element of the soul is on the side of reason and law. The inferior element of the soul opposes reason and law. Socrates describes what the inferior element does, “As for the part that leads us to recollections of our suffering and to lamentations, and is insatiable for these things, wont we say that it is the element that lacks reason, is idle, and is a friend of cowardice?” (Plato 309). Socrates believed that when unfortunate things would happen to someone the rational thing to do would be to hold their feelings in when in public and very quickly have their rational element take over their thinking. “Instead of acting like children who have fallen over, and who hold on to the hurt part and spend their time wailing, we should always accustom our souls to turn as quickly as possible to curing and raising up the part that has suffered a fall and is sick, so as to banish lamentation by means of medicine” (Plato 309).
Socrates believed that it was possible to let the inferior element take over with all emotions. “And in the case of sexual desires, anger, and all the appetites, pains, and pleasures in the soul, which we say accompany every action of ours, the effect of poetic imitation on us is the same” (Plato 311). Artists, in his opinion, imitated these emotions driven by the inferior element. People who enjoyed artists’ work were vicariously experiencing these expressed emotions of the inferior element, keeping them third removed from the truth. Socrates said, “You see, I think only a few people are able to calculate that the enjoyment of other people’s sufferings is inevitably transferred to one’s own, since, when pity is nourished and strengthened by the former, it is not easily suppressed in the case of one’s own sufferings” (Plato 311). Socrates feels that art is a corrupter and bad for the soul because it imitates or expresses emotion. Socrates believed art was a form of expressing emotions.
Sigmund Freud, a psychoanalyst, believed art was the expression of the artist’s unconscious feelings. The artist may or may not be aware they are experiencing certain emotions. He believed that art was a form of sublimation, or a coping mechanism for repressing biological desires. People cannot satisfy every desire they have because it violates what is socially acceptable. Art is a substitute for satisfying those desires or fantasies (Freeland 157-158). “For there is a path that leads back from phantasy to reality-the path, that is, of art” (Freud 467). Freud analyzed the artist’s biography to gain a good understanding of their personal history. He would then take that knowledge to predict what their unconscious feelings and desires may be and related it to their art. Everyone has an unconscious mind that affects their conscious mind whether they are aware of it or not. The unconscious mind holds basic instinctual desires as well as emotions and beliefs that are developed through one’s lifetime. Subconsciously, everything in the unconscious mind affects how people feel and act every day. Freud believed art was about expressing one’s feelings whether they are conscious or unconscious (Freeland 157-159).
“…True artistic expression is the very act of becoming clear about some idea that begins as an inchoate restlessness in the mind of the artist” (Korsmeyer 32). Benedetto Croce, R.G. Collingwood, and Suzanne Langer expanded the expression theory by including that art can express or communicate ideas as well as feelings. They believe that artists can express simple emotions as well as complex intellectual thoughts that are embedded in one’s consciousness (Freeland160-161). Art is a process of self-discovery. “To express the feeling in art is part of understanding the feeling” (Freeland 161).
Art is a therapeutic process because it allows for an artist to let their emotions out and for others to experience how they were feeling through empathy. Freud explains the benefits of being an artist, “Furthermore, he possesses the mysterious power of shaping some particular material until it has become a faithful image of his phantasy; and he knows, moreoever, how to link so large a yield of pleasure to this representation of his unconscious phantasy that, for the time being at least, repressions are outweighed and lifted by it” (468). An artist can prevent neurosis by using art as an outlet to express their unconscious mind (Freeland 157). An artist’s biography and personal history, through psychoanalysis or self-reflection, could explain their conscious or unconscious emotions that are expressed through their art. Therefore the expression theory of art is the best tool to use to interpret the meaning of a work of art as well as understanding what the artist was feeling emotionally. The gallery below demonstrates how the expression theory is used to interpret the meaning of art and gain insight into what emotions the artist may have been experiencing.
Works Cited
Freeland, Cynthia. But is it art?. New York: Oxford University Press, 2001. Print.
Freud, Sigmund. Introductory Lectures on Psycho-Analysis. New York: W.W. Norton & Company, Inc., 1966. Print.
Korsmeyer, Carolyn. Gender and Aesthetics An Introduction. New York: Routledge, 2004. Print.
Plato. Republic. Indianapolis: Hackett Publishing Company Inc, 2004. Print.
Leo Tolstoy, a Russian novelist and proponent of the expression theory, believed that an artist’s purpose was to express their emotions to their viewers. In Tolstoy’s essay, What is Art?, he said, “To evoke in oneself a feeling one has once experienced and having evoked it in oneself then by means of movements, lines, colours, sounds, or forms expressed in words, so to transmit this feeling that others experience the same feeling – this is the activity of art…” (Freeland 155). An artist may experience an emotion that gives them inspiration to create a work of art that expresses that emotion. It is true that every day they work on that piece they may not feel the specific emotion that they are expressing but that does not mean they lose sight of that emotion. An artist can take an emotion or feeling they experienced at one moment in time and hold onto it to share it through their artwork. When people view their artwork they are going to feel the same emotion that the artist had. “Some theorists focus on the controlled display of individual thoughts and feelings that the disciplined imagination is able to externalize in a work of art, such that others gain an understanding of the artist’s unique insights” (Korsmeyer 31-32).
Plato wrote of Socrates beliefs on art in Republic. Socrates believed there were three levels of truth. The handicraftsman or natural maker was full of knowledge of the truth and Forms. The craftsman was the manufacturer who tried to make copies of the Forms, but they are never exactly like the Form. They listen to the user of the item to get the correct belief on the good and bad qualities of the item. They are second removed from the truth. An imitator is a craftsman of an image. Imitators do not have knowledge or correct beliefs. They are third removed from the truth. Socrates believed artists were imitators (Plato 297-301).
Socrates believed artists, or imitators, imitated tragedy, humor, and all other emotions. The artist was imitating an emotion they had felt or wanted their audience to feel. The act of imitation was a form of expression. Socrates felt this was harmful to society because it corrupted people with false information. Imitations are third removed from the truth and can interfere with the elements of the soul (Plato 309-310).
Socrates felt that there were two elements to the soul. There was a rational element and an inferior element. The rational element of the soul is on the side of reason and law. The inferior element of the soul opposes reason and law. Socrates describes what the inferior element does, “As for the part that leads us to recollections of our suffering and to lamentations, and is insatiable for these things, wont we say that it is the element that lacks reason, is idle, and is a friend of cowardice?” (Plato 309). Socrates believed that when unfortunate things would happen to someone the rational thing to do would be to hold their feelings in when in public and very quickly have their rational element take over their thinking. “Instead of acting like children who have fallen over, and who hold on to the hurt part and spend their time wailing, we should always accustom our souls to turn as quickly as possible to curing and raising up the part that has suffered a fall and is sick, so as to banish lamentation by means of medicine” (Plato 309).
Socrates believed that it was possible to let the inferior element take over with all emotions. “And in the case of sexual desires, anger, and all the appetites, pains, and pleasures in the soul, which we say accompany every action of ours, the effect of poetic imitation on us is the same” (Plato 311). Artists, in his opinion, imitated these emotions driven by the inferior element. People who enjoyed artists’ work were vicariously experiencing these expressed emotions of the inferior element, keeping them third removed from the truth. Socrates said, “You see, I think only a few people are able to calculate that the enjoyment of other people’s sufferings is inevitably transferred to one’s own, since, when pity is nourished and strengthened by the former, it is not easily suppressed in the case of one’s own sufferings” (Plato 311). Socrates feels that art is a corrupter and bad for the soul because it imitates or expresses emotion. Socrates believed art was a form of expressing emotions.
Sigmund Freud, a psychoanalyst, believed art was the expression of the artist’s unconscious feelings. The artist may or may not be aware they are experiencing certain emotions. He believed that art was a form of sublimation, or a coping mechanism for repressing biological desires. People cannot satisfy every desire they have because it violates what is socially acceptable. Art is a substitute for satisfying those desires or fantasies (Freeland 157-158). “For there is a path that leads back from phantasy to reality-the path, that is, of art” (Freud 467). Freud analyzed the artist’s biography to gain a good understanding of their personal history. He would then take that knowledge to predict what their unconscious feelings and desires may be and related it to their art. Everyone has an unconscious mind that affects their conscious mind whether they are aware of it or not. The unconscious mind holds basic instinctual desires as well as emotions and beliefs that are developed through one’s lifetime. Subconsciously, everything in the unconscious mind affects how people feel and act every day. Freud believed art was about expressing one’s feelings whether they are conscious or unconscious (Freeland 157-159).
“…True artistic expression is the very act of becoming clear about some idea that begins as an inchoate restlessness in the mind of the artist” (Korsmeyer 32). Benedetto Croce, R.G. Collingwood, and Suzanne Langer expanded the expression theory by including that art can express or communicate ideas as well as feelings. They believe that artists can express simple emotions as well as complex intellectual thoughts that are embedded in one’s consciousness (Freeland160-161). Art is a process of self-discovery. “To express the feeling in art is part of understanding the feeling” (Freeland 161).
Art is a therapeutic process because it allows for an artist to let their emotions out and for others to experience how they were feeling through empathy. Freud explains the benefits of being an artist, “Furthermore, he possesses the mysterious power of shaping some particular material until it has become a faithful image of his phantasy; and he knows, moreoever, how to link so large a yield of pleasure to this representation of his unconscious phantasy that, for the time being at least, repressions are outweighed and lifted by it” (468). An artist can prevent neurosis by using art as an outlet to express their unconscious mind (Freeland 157). An artist’s biography and personal history, through psychoanalysis or self-reflection, could explain their conscious or unconscious emotions that are expressed through their art. Therefore the expression theory of art is the best tool to use to interpret the meaning of a work of art as well as understanding what the artist was feeling emotionally. The gallery below demonstrates how the expression theory is used to interpret the meaning of art and gain insight into what emotions the artist may have been experiencing.
Works Cited
Freeland, Cynthia. But is it art?. New York: Oxford University Press, 2001. Print.
Freud, Sigmund. Introductory Lectures on Psycho-Analysis. New York: W.W. Norton & Company, Inc., 1966. Print.
Korsmeyer, Carolyn. Gender and Aesthetics An Introduction. New York: Routledge, 2004. Print.
Plato. Republic. Indianapolis: Hackett Publishing Company Inc, 2004. Print.
Night
Hodler, Ferdinand. 1889 and 1890.
This painting serves as a good representation of a dream and what Sigmund Freud or other psychoanalysts would interpret from it. The man in the center with black image on top of him may represent Hodler and his fear of death. The woman on the right and on the left may represent Hodler's love affair between his wife and mistress. This painting shows how art can be a good revealer of what lies in one's unconscious. This image gives an overwhelming feeling of darkness and terror.
This painting serves as a good representation of a dream and what Sigmund Freud or other psychoanalysts would interpret from it. The man in the center with black image on top of him may represent Hodler and his fear of death. The woman on the right and on the left may represent Hodler's love affair between his wife and mistress. This painting shows how art can be a good revealer of what lies in one's unconscious. This image gives an overwhelming feeling of darkness and terror.
I Lock My Door Upon Myself
Knopff, Ferdinand. 1891.
This painting is a good example of surrealism and psychology. The flower on the left is withering away, which could be a sign of time passing or death. The background is a combination of scenes blended together. On the right it looks like an empty building and street. On the left there are dark windows. The background of this painting makes it difficult to decipher what it actually is, making it very subjective. The blank stare of the women makes it seem like the scene in the background is in her mind. It seems, with all these elements together, that this painting relates to psychology and the unconscious. This image gives a feeling of sadness or emptiness. The woman's blank eyes make her appear stuck in time or trapped. Knopff's painting is based on the poem below.
This painting is a good example of surrealism and psychology. The flower on the left is withering away, which could be a sign of time passing or death. The background is a combination of scenes blended together. On the right it looks like an empty building and street. On the left there are dark windows. The background of this painting makes it difficult to decipher what it actually is, making it very subjective. The blank stare of the women makes it seem like the scene in the background is in her mind. It seems, with all these elements together, that this painting relates to psychology and the unconscious. This image gives a feeling of sadness or emptiness. The woman's blank eyes make her appear stuck in time or trapped. Knopff's painting is based on the poem below.
Who Shall Deliver Me?
by Christina Georgina Rossetti (1830-1894)
God strengthen me to bear myself;
That heaviest weight of all to bear,
Inalienable weight of care.
All others are outside myself;
I lock my door and bar them out
The turmoil, tedium, gad-about.
I lock my door upon myself,
And bar them out; but who shall wall
Self from myself, most loathed of all?
If I could once lay down myself,
And start self-purged upon the race
That all must run ! Death runs apace.
If I could set aside myself,
And start with lightened heart upon
The road by all men overgone!
God harden me against myself,
This coward with pathetic voice
Who craves for ease and rest and joys
Myself, arch-traitor to mysel ;
My hollowest friend, my deadliest foe,
My clog whatever road I go.
Yet One there is can curb myself,
Can roll the strangling load from me
Break off the yoke and set me free
God strengthen me to bear myself;
That heaviest weight of all to bear,
Inalienable weight of care.
All others are outside myself;
I lock my door and bar them out
The turmoil, tedium, gad-about.
I lock my door upon myself,
And bar them out; but who shall wall
Self from myself, most loathed of all?
If I could once lay down myself,
And start self-purged upon the race
That all must run ! Death runs apace.
If I could set aside myself,
And start with lightened heart upon
The road by all men overgone!
God harden me against myself,
This coward with pathetic voice
Who craves for ease and rest and joys
Myself, arch-traitor to mysel ;
My hollowest friend, my deadliest foe,
My clog whatever road I go.
Yet One there is can curb myself,
Can roll the strangling load from me
Break off the yoke and set me free
The Scream
Munch, Edvard. 1893.
Munch was inspired to make this painting while on an evening walk feeling sick and drained. He painted the scene he saw that night. He had sensed a scream. This image represents a strong feeling of anxiety. The landscape is distorted and exaggerated. The pier stretches far back into the distance where two tall dark figures are seen walking forward with a threatening sense to them. In front of that image there is the face of a petrified man. His face is yellow like a skull, his mouth is wide open with both his hands holding his head, and his body writhed. This could be an image of someone screaming out of sheer terror or it could be someone covering their ears because of nature's loud scream, which may only be heard in their head. This painting expresses a person's deep anxieties.
Munch was inspired to make this painting while on an evening walk feeling sick and drained. He painted the scene he saw that night. He had sensed a scream. This image represents a strong feeling of anxiety. The landscape is distorted and exaggerated. The pier stretches far back into the distance where two tall dark figures are seen walking forward with a threatening sense to them. In front of that image there is the face of a petrified man. His face is yellow like a skull, his mouth is wide open with both his hands holding his head, and his body writhed. This could be an image of someone screaming out of sheer terror or it could be someone covering their ears because of nature's loud scream, which may only be heard in their head. This painting expresses a person's deep anxieties.
Self-Portrait with Wine Bottle
Munch, Edvard.1906.
This painting is very depressing. The restaurant is empty with only Munch, two waiters, and one guest in the back. Munch turns his back on the few people in the restaurant. The person sitting in the back looks to be a woman and her figure is giving off a negative feeling. Munch is frowning, furrowing his brow, and slightly slouching his shoulders clearly showing his discontent. Munch had a history of depression and alcoholism. It appears that the wine bottle next to him is his only companion. Munch is completely isolated physically and psychologically. This image gives off the sense of loneliness and desperation.
This painting is very depressing. The restaurant is empty with only Munch, two waiters, and one guest in the back. Munch turns his back on the few people in the restaurant. The person sitting in the back looks to be a woman and her figure is giving off a negative feeling. Munch is frowning, furrowing his brow, and slightly slouching his shoulders clearly showing his discontent. Munch had a history of depression and alcoholism. It appears that the wine bottle next to him is his only companion. Munch is completely isolated physically and psychologically. This image gives off the sense of loneliness and desperation.
Mannequin at the International Exhibition of Surrealism
Masson, Andre. 1938.
This wooden figure represents the dehumanizing of women and the androcentric attitude in the art world. Women were the center of men's sexual dreams and desires in many artworks. The female mannequin had become an object in art that objectified women by taking something that is unreal to represent something real. The head of the mannequin is trapped in a cage and the mouth is covered with something. It is like a bird trapped in a cage unable to sing. There is an emphasis brought to the sexual regions of the body. There is wire in the pubic area and flowers in the armpits. If a real woman were in the position the mannequin is in, it would be very troubling. How would you feel if you were in this mannequin's position? This gives insight to how women felt psychologically from only being valued for their sexuality.
This wooden figure represents the dehumanizing of women and the androcentric attitude in the art world. Women were the center of men's sexual dreams and desires in many artworks. The female mannequin had become an object in art that objectified women by taking something that is unreal to represent something real. The head of the mannequin is trapped in a cage and the mouth is covered with something. It is like a bird trapped in a cage unable to sing. There is an emphasis brought to the sexual regions of the body. There is wire in the pubic area and flowers in the armpits. If a real woman were in the position the mannequin is in, it would be very troubling. How would you feel if you were in this mannequin's position? This gives insight to how women felt psychologically from only being valued for their sexuality.
Prussian Archangel
Heartfield, John and Schlichter, Rudolph. 1920.
This is a good example of Dada work that serves as a clear protest. It is a pig headed military officer hanging from the ceiling made out of papier-mâché. The banner around it says, "I come from Heaven, from Heaven on high." This quote is from a well-known German Christmas carol. The poster below it says, "In order to understand this work of art completely, one should drill daily for twelve hours with a heavily packed knapsack in full marching order in the Tempelhof Field." The Tempelhof Field was a military training ground in Berlin. This piece of art made a mockery of the German military and expressed their anger towards Germany for the war. It is easy for one to grasp the idea and feeling of protest from viewing this piece.
This is a good example of Dada work that serves as a clear protest. It is a pig headed military officer hanging from the ceiling made out of papier-mâché. The banner around it says, "I come from Heaven, from Heaven on high." This quote is from a well-known German Christmas carol. The poster below it says, "In order to understand this work of art completely, one should drill daily for twelve hours with a heavily packed knapsack in full marching order in the Tempelhof Field." The Tempelhof Field was a military training ground in Berlin. This piece of art made a mockery of the German military and expressed their anger towards Germany for the war. It is easy for one to grasp the idea and feeling of protest from viewing this piece.
Grief
Ancher, Anna, 1902.
The setting of this painting is in a church grave yard or cemetery. It seems very barren and desolate. It is probably a picture of the artist, Anna, with her dead mother. This piece was not shown in her lifetime. The viewers are clearly not invited into this mourning time of hers. This painting effectively communicates the feeling of grief and missing a loved one.
The setting of this painting is in a church grave yard or cemetery. It seems very barren and desolate. It is probably a picture of the artist, Anna, with her dead mother. This piece was not shown in her lifetime. The viewers are clearly not invited into this mourning time of hers. This painting effectively communicates the feeling of grief and missing a loved one.
Germany: A Winter's Tale
Grosz, George. 1917-1919.
This painting ties together paranoia, self-hatred, and anti-Semitism in a political way. In the center there is a fat German burgher sitting at the table with his morning paper and cigar. Underneath him there are three sects of society, which are the army, church, and school. There is a priest, a German solider, and a teacher. Behind the burgher is a sailor, representing a revolution. There is also a prostitute, which represented the times people lived in according to Grosz. Grosz was known to be a paranoid man and misidentified himself as being Jewish. His psychoanalyst believed he was paranoid due to suppressing his homosexuality. The image probably represents Grosz's hatred toward German things as well as his own self-hatred.
This painting ties together paranoia, self-hatred, and anti-Semitism in a political way. In the center there is a fat German burgher sitting at the table with his morning paper and cigar. Underneath him there are three sects of society, which are the army, church, and school. There is a priest, a German solider, and a teacher. Behind the burgher is a sailor, representing a revolution. There is also a prostitute, which represented the times people lived in according to Grosz. Grosz was known to be a paranoid man and misidentified himself as being Jewish. His psychoanalyst believed he was paranoid due to suppressing his homosexuality. The image probably represents Grosz's hatred toward German things as well as his own self-hatred.
From Thuringewald
Munch, Edvard. 1905.
This painting was done by Munch while he was staying at a spa in Thuringerwald. He suffered from alcoholism, anxiety, paranoia, and depression. When he would have a nervous breakdown he would retreat to a spa in either Thuringerwald, Bad Elgersburg, or Bad Kosen where he would receive therapeutic help from a doctor. This painting has a sense of calm and quiet. The nature scenery is peaceful. Munch most likely was feeling more at peace with himself when he painted this piece because he was receiving psychological help.
This painting was done by Munch while he was staying at a spa in Thuringerwald. He suffered from alcoholism, anxiety, paranoia, and depression. When he would have a nervous breakdown he would retreat to a spa in either Thuringerwald, Bad Elgersburg, or Bad Kosen where he would receive therapeutic help from a doctor. This painting has a sense of calm and quiet. The nature scenery is peaceful. Munch most likely was feeling more at peace with himself when he painted this piece because he was receiving psychological help.
A Female Mountaineer
Willumsen, J.F. 1904.
This painting is a portrait of Willumsen's second wife. This painting really captures that she is the love of his life. This was of a hiking trip they were on for their honeymoon. The vivid colors give off the sense of joy he felt from his wife. She is on top of the alps in the fresh air and sunshine. This is an abnormal portrait for the time because she is in an informal outfit that was meant for function rather than sexual attraction. He makes her appear liberated. She is shown in the mountains alone, wearing loose fitting clothes to be able to move around freely and hike. This image shows off the love and respect Willumsen had for his wife.
This painting is a portrait of Willumsen's second wife. This painting really captures that she is the love of his life. This was of a hiking trip they were on for their honeymoon. The vivid colors give off the sense of joy he felt from his wife. She is on top of the alps in the fresh air and sunshine. This is an abnormal portrait for the time because she is in an informal outfit that was meant for function rather than sexual attraction. He makes her appear liberated. She is shown in the mountains alone, wearing loose fitting clothes to be able to move around freely and hike. This image shows off the love and respect Willumsen had for his wife.
Fountain
Duchamp, Marcel. 1917.
This is a readymade. Duchamp took a mass produced item, removed its function, and turned it into art because of the psychological impact behind the object. This urinal has deep sexual implications and confronts the discrimination of homosexuals. Throughout history being homosexual was a taboo subject. The safest place for men to have sexual relations with each other was in public bathrooms. The public bathroom became a queer space. This piece brings up all of that controversy and suggests that Duchamp had a personal connection with the issues homosexuals faced.
This is a readymade. Duchamp took a mass produced item, removed its function, and turned it into art because of the psychological impact behind the object. This urinal has deep sexual implications and confronts the discrimination of homosexuals. Throughout history being homosexual was a taboo subject. The safest place for men to have sexual relations with each other was in public bathrooms. The public bathroom became a queer space. This piece brings up all of that controversy and suggests that Duchamp had a personal connection with the issues homosexuals faced.
Time Transfixed
Magritte, Rene. 1938.
This piece is very psychological as it represents some kind of a dream state. The train is not moving but it is given the appearance that is is moving because it is coming out of the fireplace with steam being ejected. The idea of time is manipulated. There is an exact time on the clock but at the same time it is frozen. The candles are burnt down as they are no longer visible in the candle sticks. The shadows have no particular angles to them. The room is blank and empty. This is a surreal image and represents the unconscious and dreams.
This piece is very psychological as it represents some kind of a dream state. The train is not moving but it is given the appearance that is is moving because it is coming out of the fireplace with steam being ejected. The idea of time is manipulated. There is an exact time on the clock but at the same time it is frozen. The candles are burnt down as they are no longer visible in the candle sticks. The shadows have no particular angles to them. The room is blank and empty. This is a surreal image and represents the unconscious and dreams.
The Dream
Hodler, Ferdinand. 1897-1903.
This painting represents deep sexual anxieties. The woman's long red hair represents a sexualized women, or even a prostitute. Women with long hair were considered symbolically dangerous because when on top of a man the hair would go in their mouth and choke them. The fact that the woman takes up most of the image and is above the man shows a sense of female power. The man on the bottom is laying on his back, flaccid, with his neck exposed. He is in an extremely vulnerable position and it suggests impotence. The dangerous sexualized woman is dominating the man in this painting. During the time of this painting it was very common for men to seek sexual relations with prostitutes but with the rise of syphilis it became increasingly dangerous. This shows Hodler's fears of women dominating him sexually.
This painting represents deep sexual anxieties. The woman's long red hair represents a sexualized women, or even a prostitute. Women with long hair were considered symbolically dangerous because when on top of a man the hair would go in their mouth and choke them. The fact that the woman takes up most of the image and is above the man shows a sense of female power. The man on the bottom is laying on his back, flaccid, with his neck exposed. He is in an extremely vulnerable position and it suggests impotence. The dangerous sexualized woman is dominating the man in this painting. During the time of this painting it was very common for men to seek sexual relations with prostitutes but with the rise of syphilis it became increasingly dangerous. This shows Hodler's fears of women dominating him sexually.
A Funeral
Ancher, Anna. 1888/1891.
This is a painting of a family friend's funeral. This painting is very realistic except for how the space is very compressed. It gives a feeling of somberness. One can really grasp what Anna was feeling when she painted this and also what everyone in the painting was feeling by the looks on their faces.
This is a painting of a family friend's funeral. This painting is very realistic except for how the space is very compressed. It gives a feeling of somberness. One can really grasp what Anna was feeling when she painted this and also what everyone in the painting was feeling by the looks on their faces.
Hysteria
Charcot, Jean-Martin.
This chronophotography shows a women in a state of hysteria. French neurologist Charcot coined the term hysteria which Freud learned from him. Hysteria was known as a nervous illness only women could get. This woman could be representing what Charcot and Freud would think to be morbid female eroticism. This woman is representing what a fit of hysteria would look like with rigid stress, nervous tension, and sexual ecstasy displayed on her body. Looking at this image at one time it was believed that this woman was mentally ill and experiencing irrational thoughts and feelings.
This chronophotography shows a women in a state of hysteria. French neurologist Charcot coined the term hysteria which Freud learned from him. Hysteria was known as a nervous illness only women could get. This woman could be representing what Charcot and Freud would think to be morbid female eroticism. This woman is representing what a fit of hysteria would look like with rigid stress, nervous tension, and sexual ecstasy displayed on her body. Looking at this image at one time it was believed that this woman was mentally ill and experiencing irrational thoughts and feelings.