American Imago Pub Date : 2020-12-31 , DOI: 10.1353/aim.2020.0039 Janet Sayers
Reviewed by:
- Creative States of Mind: Psychoanalysis and the Artist's Process by Patricia Townsend, and: The Outwardness of Art: Selected Writings of Adrian Stokes ed. by Thomas Evans
- Janet Sayers (bio)
Outside In: Art and Psychoanalysis
Psychoanalysis is often criticized as incorrigibly introspective. Nor is this any surprise given its origin in Freud's focus on his inwardly-occurring dreams, and on the focus of today's psychoanalysts on the inner world of their patients. Yet, even in his very first work of psychoanalysis, Freud drew attention to the external stimuli causing dreams. Examples included a medical student who, hearing as he slept his landlady calling him to wake up, dreamt he was already at the hospital where he worked so there was no need for him to wake up and go there.
Impressed by the external and other stimuli provoking dreams Freud likened their effect on the unconscious mind to the relation between an entrepreneur and a capitalist of which he said
[T]he entrepreneur, who, as people say, has the idea and the initiative to carry it out, can do nothing without capital; he needs a capitalist who can afford the outlay, and the capitalist who provides the psychical outlay for the dream is invariably and indisputably, whatever may be the thoughts of the previous day, a wish from the unconscious.
(Freud, 1900, p. 561, emphasis in original)
Freud famously went on to describe ways that psychoanalysts can evoke more or less unconscious feelings in their patients about other significant people in their lives. He first described these outwardly-evoked, inwardly-occurring feelings [End Page 809] as "transferences" in trying to understand why his patient, Dora, gave him notice just as she did a family friend, Herr K (Freud, 1905, p. 116). This passage in Freud's 1905 case study of Dora is well known by many Freud enthusiasts. Much less well-known and often overlooked is Freud's speculation, in a book published in 1909, about the external stimuli shaping the art of Leonardo da Vinci. In particular Freud speculated that meeting the subject of his painting, Mona Lisa, evoked in Leonardo's memory "the smile of bliss and rapture which once played on his mother's lips as she fondled him." It was this, said Freud, which caused Leonardo to give the same smile "to Leda, John the Baptist and Bacchus" in his paintings of them (Freud, 1910, p.117).
I am reminded of this aspect of Freud's psychoanalytic account of dreams, transferences, and the art of Leonardo by the artist and psychoanalytic psychotherapist Patricia Townsend's recent book Creative States of Mind: Psychoanalysis and the Artist's Process. In it she draws on the psychoanalytic work of Marion Milner, Donald Winnicott, Christopher Bollas, and others in reporting results of her interviews with thirty-three artists, several of whom described their artwork being inspired by 'finding something in the outside world' which for them had "a special meaning" (2019, p. 7).
The same is true, it seems, of several of Townsend's own artworks inspired by seeing England's Morecambe Bay from nearby mountains, a sight of which she says
There was something troubling about this landscape. Was it the history of the Bay, the fact that many lives have been lost here to the quicksands or to fast incoming tides? Looking out over the great expanse of the Bay at low tide, I imagined myself walking out alone towards the horizon until I could see no land. I imagined what it might feel like to be out in this wet desert, far from help. This sense of isolation and lack of containment seemed to be one aspect of my emotional reaction to the Bay. Another had to do with the imagined experience of being sucked beneath the ground by quicksands. Or being swept away, engulfed, by the incoming tide which [End Page 810] is said to be as fast as a galloping horse. But I felt that...
中文翻译：
创作心态：帕特里夏·汤森（Patricia Townsend）的精神分析和艺术家的过程，以及：艺术的外在：艾德里安·斯托克斯（Adrian Stokes）编选的著作。由托马斯·埃文斯（评论）
代替摘要，这里是内容的简要摘录：
审核人：
- 创作心态：帕特里夏·汤森（Patricia Townsend）的精神分析和艺术家的过程，以及：艺术的外在：艾德里安·斯托克斯（Adrian Stokes）编选的著作。托马斯·埃文斯（Thomas Evans）
- 珍妮特·塞耶斯（生物）
外在：艺术与心理分析
精神分析经常被批评为不可思议的内省。考虑到弗洛伊德专注于内在的梦想，以及当今的心理分析家关注患者的内心世界，这也就不足为奇了。然而，即使在弗洛伊德最初的心理分析工作中，他也引起了人们对引起梦想的外部刺激的关注。例子包括一名医学生，他在睡梦中睡着的房东叫他醒来时，梦见自己已经在他工作的医院里了，所以不需要他醒来就去那里。
弗洛伊德对外部和其他刺激性梦想的印象深刻，弗洛伊德将其对潜意识的影响比作企业家和资本家之间的关系。
[T]他的企业家，谁，因为人们说，有这个想法，并执行它的主动权，可以做什么没有资本; 他需要一个资本主义谁能够负担得起的费用，谁提供心理支出为梦想资本主义必然是和无可争议，无论可能是前一天的思想，从无意识的愿望。
（弗洛伊德，1900年，第561页，原文强调）
弗洛伊德（Freud）继续著名地描述了心理分析人员在其患者中对生活中其他重要人物或多或少会产生潜意识的感觉的方式。他首先描述了这些向外诱发，向内发生感情[尾页809]在试图理解为“流转”为什么他的耐心，多拉，让他看到只是像她那样一个家庭的朋友，杜林K（弗洛伊德，1905年，第（第116章）。弗洛伊德1905年对《朵拉》的案例研究中的这段话为许多弗洛伊德爱好者所熟知。弗洛伊德（Freud）在1909年出版的书中关于塑造莱昂纳多·达·芬奇艺术的外部刺激的猜测鲜为人知，并且经常被人们忽略。特别是弗洛伊德推测，符合他绘画主题的《蒙娜丽莎》（Mona Lisa）在莱昂纳多（Leonardo）的记忆中唤起了“幸福和狂喜的笑容，曾经在母亲抚摸他时洋溢着他的嘴唇。” 弗洛伊德说，正是这样，导致莱昂纳多在他的画作中对莱达，施洗约翰和巴克斯起了同样的笑容（弗洛伊德，1910年，第117页）。
艺术家和心理分析心理治疗师帕特里夏·汤森德（Patricia Townsend）最近的著作《创造性的思维状态：心理分析和艺术家的过程》使我想起了弗洛伊德对梦，转移和莱昂纳多艺术的精神分析方面的这一方面。在其中，她借鉴了玛丽昂·米尔纳（Marion Milner），唐纳德·温尼科特（Donald Winnicott），克里斯托弗·博拉斯（Christopher Bollas）等人的心理分析工作，报告了她对33位艺术家的采访结果，其中一些人描述了他们的作品是受“在外界发现某些东西”的启发而创作的。因为它们具有“特殊意义”（2019年，第7页）。
汤森自己的几幅作品似乎也是如此，灵感来自附近山区的英格兰莫克姆湾，她说：
这种情况令人不安。这是海湾的历史吗，流沙或快速涌入的潮汐已使许多人丧生？在退潮时望向海湾广阔无out的山脉，我想象自己独自向地平线走去，直到看不见土地为止。我想象在这个潮湿的沙漠中，远离帮助会感觉如何。这种孤立和缺乏控制感似乎是我对海湾的情感反应的一方面。另一个与想象中的被流沙吸到地下的经历有关。或被传入的潮汐冲走，吞噬掉，据传[End Page 810]就像奔腾的马一样快。但是我觉得
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