A brief exploration of neurological art history

The invention of realistic portraiture to reveal "inner life" is attributed by some art historians to Jan van Eyck who worked in Flanders from 1420 onwards. We show, using clinical neurological examination of the gold mask of Agamemnon dating from 1550-1500 BC and of the portraits of Henry III and his son Edward I -- important English royals -- painted between 1216 and 1307, that realistic portraits were made well before the 15th Century. Thus artists unwittingly used neurology as part of their realistic approach to the presentation of the face. Because neurological diagnosis is often visual, neurology, in turn, has a rich potential to unveil examples of realism in art. We consider the art pieces examined here also pertinent to art historians, as they assess the role of art in documenting history.     

A Brief Exploration of Neurological Art History

The invention of realistic portraiture to reveal "inner life" is attributed by some art historians to Jan van Eyck who worked in Flanders from 1420 onwards. We show, using clinical neurological examination of the gold mask of Agamemnon dating from 1550-1500 BC and of the portraits of Henry III and his son Edward I - important English royals - painted between 1216 and 1307, that realistic portraits were made well before the 15th Century. Thus artists unwittingly used neurology as part of their realistic approach to the presentation of the face. Because neurological diagnosis is often visual, neurology, in turn, has a rich potential to unveil examples of realism in art. We consider the art pieces examined here also pertinent to art historians, as they assess the role of art in documenting history.     

Three Twentieth-Century Multiauthored Neurological Handbooks – A Historical Analysis and Bibliometric Comparison

The emergence of neurology as a separate specialty from internal medicine and psychiatry took several decades, starting at the end of the nineteenth century. This can be adequately reconstructed by focusing on the establishment of specialized journals, societies, university chairs, the invention and application of specific instruments, medical practices, and certainly also the publication of pivotal textbooks in the field. Particularly around 1900, the German-speaking countries played an integral role in this process. In this article, one aspect is extensively explored, notably the publication (in the twentieth century) of three comprehensive and influential multivolume and multiauthor handbooks entirely devoted to neurology. All available volumes of Max Lewandowsky's Handbuch der Neurologie (1910–1914) and the Handbuch der Neurologie (1935–1937) of Oswald Bumke and Otfrid Foerster were analyzed. The handbooks were then compared with Pierre Vinken's and George Bruyn's Handbook of Clinical Neurology (1968–2002).

Over the span of nearly a century these publications became ever more comprehensive and developed into a global, encompassing project as is reflected in the increasing number of foreign authors. Whereas the first two handbooks were published mainly in German, “Vinken & Bruyn” was eventually published entirely in English, indicating the general changes in the scientific language of neurology after World War II. Distinctions include the uniformity of the series, manner of editorial involvement, thematic comprehensiveness, inclusion of volume editors in “Vinken & Bruyn,” and the provision of index volumes. The increasing use of authorities in various neurological subspecialties is an important factor by which these handbooks contrast with many compact neurological textbooks that were available at the time.

For historiographical purposes, the three neurological handbooks considered here were important sources for the general study of the history of medicine and science and the history of neurology in particular. Moreover, they served as important catalyzers of the emergence of neurology as a new clinical specialty during the first decades of the twentieth century.     

民俗学艺术论题的转向——从民间艺术到支撑人之“生”的艺术(vernacular艺术)

民俗学研究中关于艺术的讨论通常是在民间艺术或民俗艺术概念之下展开的。然而,这类议论往往深受传统与历史性的束缚,普通人在生活世界里所制作的平凡作品很少有机会能被视作"艺术"。要使这样略失偏颇的论题实现在现代社会中的转向,vernacular艺术这个概念应能发挥效用。它所指的,是并不自许为"艺术家"的普通人受难以抑制的创作冲动所驱使而作成的艺术;是在那原本与正统艺术世界的制度、权力或权威无涉的世界里,自学习得艺术技能与知识的人们苦心巧思而成的艺术。它是呈现在普通人生活现场与路上的艺术,有时亦是支撑人生、充实生活的艺术,是寻回新生、填补生命的艺术。在民俗学中采用vernacular艺术这一视点时,艺术本身并不是真正需要我们考察的对象。我们应当考察的是艺术背后人们千姿百态的生活形象与方式,是他们别具特征的人生观与人性,这些都是极好的研究材料。另外,将"艺术家"的个人史与其生活社会的当代史加以描述,从中亦能生长出研究的良材。     

Why are artists getting poorer? About the reproduction of low income among artists

In the period 2006 to 2013, Norway has experienced a substantial increase in public subsidies to culture as well as a substantial increase in real income growth in general. This paper discusses different explanations for why Norwegian artists’ real artistic income has declined between 2006 and 2013, despite the positive economic development in Norway. We have based the study in particular on two comparable studies on the income and work situation of Norwegian artists in 2006 and 2013. We analyse and discuss why the artists’ real artistic income has declined during this period. We do not find a single, general, explanation for this, but the income decline does not primarily seem to be due to either an increasing number of artists or a decline in public scholarships to artists. Our two most striking findings are: (i) A substantial decline in most artists’ artistic working hours and a corresponding increase in artistically related and non-artistic working hours, and (ii) a tendency for artists to derive less of their income from the market, together with an apparent decrease in cultural consumption (spending) among Norwegians. These two factors – especially the latter – seem to be the major factors behind the decline in artistic income.     

Performing a cure for schizophrenia: insulin coma therapy on the wards

Most historians of psychiatry regard insulin coma therapy (ICT) either as an embarrassing stumble on the path to modern biological psychiatry or as one member of a long line of somatic therapies used to treat mental illness in the mid-twentieth century. This article explores the ICT era, roughly 1933-60, as a key moment in the development of American psychiatry. Developed only ten years after insulin had been embraced as a "miracle drug" for the treatment of diabetes, ICT was perceived by psychiatrists as a means of bringing their field closer to mainstream medicine, particularly to neurology. In addition, the story of ICT reveals how a treatment never quite proven on paper was unquestionably efficacious in the local world in which it was performed. An institutionally-based treatment, ICT was administered in a specific area of the mental hospital deemed the insulin unit, a room with its own staff, practices, and attitudes toward mental illness. There, psychiatrists often experienced wondrous recoveries of individual, formerly intractable patients. These intense personal experiences allowed psychiatrists to feel truly efficacious, enabling them to reinvent themselves as medical doctors rather than behavioral and disciplinary supervisors. The confidence they derived from this capacity, along with the operating room-like setting of the insulin unit, the unit's specialized staffing and group bond, and the availability of both risk-assessment tests and a medley of treatments that countered side effects and complications, allowed ICT to be understood as an efficacious treatment for schizophrenia within the local world in which it was administered.     

《十咏图》及其对宋元吴兴文化圈的影响

由北京故宫博物院重新购藏的《十咏图》是一幅流传有绪的11世纪作品。在综合近人对《十咏图》考证的基础上,本文重点分析了这一北宋绘画基准作品的历史重要性及其对吴兴一地的文化影响。这卷叙事性的作品通过描绘“南园”之景开创了“家产山水”的范例。在南宋史学家的笔下,《十咏图》呈现了特别的文化史价值:它被用作修纂《吴兴人物志》的第一手材料,而且它的创作成为中国史学上较早的以图像证史的自觉实践。在宋亡之际,收藏界开始将张先视为《十咏图》的创作者,即文人画的早期代表。配合文人艺术在吴兴这个元初绘画中心所形成的新格局,《十咏图》直接激励了赵孟顿等大画家确立起的反映主观自我意识的山水境界。这些新的山水创作不仅突出了地域景观特色,而且表现出文人画家们在蒙古人的统治下,努力显示自己的家庭财富及文化优势的鲜明个性。在此过程中,整个元代绘画的风格发生了革命性的转变。     

Historical aspects of cerebrotendinous xanthomatosis (CTX)

Thomas Willis made numerous contributions to the neurosciences that were broad in scope. In an age of scientific breakthroughs and intellectual revolutions, Willis bestowed upon medical research the clinical rigor that set the stage for subsequent medical breakthroughs. In Cerebri Anatome, Willis introduced a measure of empiricism hitherto unknown in medieval times. By coupling the delineation of brain and neural anatomy with functional studies, Willis brought the science of clinical neurology into fruition. Psychiatry, too, benefited from Willis' elucidation of mental illness and intellectual disability, and modern behavioral psychologists claim Willis as one their early, most ardent champions.     

毛泽东时期的中国美术

在国际共产主义运动中,在苏联、在社会主义的新中国,文艺始终是革命的“齿轮和螺丝钉”。新中国的美术家在为工农兵服务、为政治服务中,艰苦地、小心翼翼地寻求政治与艺术的结合部,在中国画、油画、版画、雕塑领域中,创作出一批批属于这个特定历史时期的为人民大众所喜闻乐见的力作。毛泽东晚年的极“左”路线,最后也将“三突出”、“高大全”、“红光亮”的美术推向顶峰与终结;同时,也为改革开放新时期的中国美术,提供了复兴与发展的机遇。     

G.I. Rossolimo (1860-1928) neurologist and public benefactor

G.I. Rossolimo was attracted to neurology as a medical student in the late nineteenth century and remained affiliated with Moscow University most of his life. His training included psychiatry, neuropathology, and laboratory research in his postgraduate years. The domain of his neurological clinical interests was vast. His most enduring efforts were directed toward neurological illnesses and developmental delay. He established a children's institute for neurology and psychology that was the first of its kind in Russia. In addition he developed a neuropsychologic examination for assessing cognitive function. His sustained interests were pursued during and after revolutionary changes in his government.     

The Image of the Sámi in Finnish Visual Arts before the Second World War

Abstract

This article examines how Finnish artists depicted the Sámi people in their paintings from the beginning of the nineteenth century to the Second World War. In the first paintings that represented the Sámi, the attitude was very romantic and artists were not interested in knowing the Sámi culture or even in encountering the Sámi people. In the nineteenth century, nationalism required building an image of the Finns, thus most Finnish artists were not interested in the Sámi. The French philosopher Hippolyte Taine's writings influenced the young artist Juho Kyyhkynen, who started to depict the Sámi culture. In the 1920s and 1930s, Sámi were thought to be primitive or Mongolian, so Finnish artists painted relatively few portraits of Sámi. All this time it was only Finnish painters who depicted the Sámi, as the voice and ideas of the Sámi themselves did not become prominent in Finland until the 1970s.     

Louis Muskens: A Leading Figure in the History of Dutch and World Epileptology

In the history of Dutch neurology Muskens has a place in his own right. Elderly neurologists still attest to the special fame of Muskens. He held a strong opinion on developing the specialty of neurology independent of psychiatry. At the same time he maintained that surgery of the nervous system also should be included in the realm of neurology. These views met with considerable opposition from colleagues and led to Muskens’ isolation. To the field of epileptology he contributed both clinical and experimental neurological studies. With Donath he was the co-founder of the International League Against Epilepsy in 1909. In addition he held a lifelong interest in the pathophysiology of forced movements, which he studied both in human pathology and in experimental studies throughout the vertebrate series. This resulted in his magnum opus on the supravestibular system in 1935. His scientific work was well received in scientific societies all over Europe.     

Louis Muskens: a leading figure in the history of Dutch and world epileptology

In the history of Dutch neurology Muskens has a place in his own right. Elderly neurologists still attest to the special fame of Muskens. He held a strong opinion on developing the specialty of neurology independent of psychiatry. At the same time he maintained that surgery of the nervous system also should be included in the realm of neurology. These views met with considerable opposition from colleagues and led to Muskens' isolation. To the field of epileptology he contributed both clinical and experimental neurological studies. With Donath he was the co-founder of the International League Against Epilepsy in 1909. In addition he held a lifelong interest in the pathophysiology of forced movements, which he studied both in human pathology and in experimental studies throughout the vertebrate series. This resulted in his magnum opus on the supravestibular system in 1935. His scientific work was well received in scientific societies all over Europe.     

European influence on Russian neurology in the eighteenth and nineteenth centuries

In this study we consider the development of clinical neurology in the eighteenth and the nineteenth centuries focusing on European influence on Russian medicine. Russian physicians readily accepted newly described clinical signs, theories, and classification of nervous diseases designed in Europe. This influence initiated neurology's separation from general medicine and its transformation into a new clinical discipline. In Russia this happened already in the 1860s, decades before the similar trend in Europe. The Russian example is nearly unknown in the general history of neurology. It illustrates the relationships between physiology and practical neurology at the moment of establishment of the new discipline. It also shows that the Russian physicians of the time readily accepted European medical knowledge putting it immediately into medical practice and education.     

William Alexander Hammond: The Centenary of His Death

In the United States, the field of clinical neurology began within the medical practice of a single physician, William Alexander Hammond. In the 1870s, this New York medical practitioner became the first American physician who limited his practice to patients who suffered from symptoms potentially due to dysfunction of the nervous system. From the experience of his huge practice, Hammond wrote the first American textbook of neurology. With Silas Weir Mitchell, he founded the American Neurological Association. The year 2000 marked the 100th anniversary of Hammond's death and stimulates this brief survey of his life.     

MAKING A DIFFERENCE: PALAEOLITHIC ICONOGRAPHY AS A TRAIT OF IDENTITY IN THE IBERIAN PENINSULA

The study of the figurative repertoire of Palaeolithic artists allows us to approach aspects such as iconographic diffusion and cultural preferences. This paper presents an updated corpus of figurative rock art for the Iberian peninsula and analyses its distribution in the Cantabrian region, inland Iberia and the Mediterranean basin, three areas frequently used in the literature. This corpus contains 3341 graphic units that were analysed using multivariate statistics and hypothesis testing. The results show that the main figurative themes can be classified according to their discriminating power. Horse, ibex and deer were the animal motifs that formed the common background of this artistic expression. In contrast, Palaeolithic artists used different proportions of bison, hind and aurochs to create a possible distinctive identity. Finally, it is discussed whether the iconographic selection is due to palaeoecological reasons, cultural motivations, or a combination of both.     

The life and times of Thomas Willis and his impact on contemporary medicine

Thomas Willis made numerous contributions to the neurosciences that were broad in scope. In an age of scientific breakthroughs and intellectual revolutions, Willis bestowed upon medical research the clinical rigor that set the stage for subsequent medical breakthroughs. In Cerebri Anatome, Willis introduced a measure of empiricism hitherto unknown in medieval times. By coupling the delineation of brain and neural anatomy with functional studies, Willis brought the science of clinical neurology into fruition. Psychiatry, too, benefited from Willis' elucidation of mental illness and intellectual disability, and modern behavioral psychologists claim Willis as one their early, most ardent champions.