T h o m a s Roske
Inspiration and Unreachable Paradigm - Hart desfous and Surrealism
T h e g r o u p a r o u n d A n d r e B r e t o n l o o k e d at t h e a r t m a d e i n i n s t i t u t i o n s i n a d i f f e r e n t way to, for e x a m p l e , t h e G e r m a n e x p r e s s i o n i s t s b e f o r e t h e First W o r l d War. B e y o n d n a t i o n a l d i f f e r e n c e s in t h e i n t e r p r e t a t i o n a n d t r e a t m e n t of p s y c h i a t r i c p r o b l e m s , a n d t h e k n o w l e d g e t h a t s p e c i f i c art
ists, for e x a m p l e A n d r e B r e t o n a n d M a x E r n s t , h a d of p s y c h i a t r y , w h a t is e s p e c i a l l y i m p o r t a n t is t h e e x p e r i e n c e of t h e m a d n e s s of t h e First W o r l d W a r t h a t later led t h e s u r r e a l i s t s n o t only to a p o l i t i c i z a t i o n b u t a l s o to f u n d a m e n t a l l y inter
r o g a t e c o n c e p t s of r a t i o n a l i t y a n d r e a s o n . M u c h m o r e radically t h a n t h e e x p r e s s i o n i s t s , t h e y t o o k t h e fous as a n e x a m p l e a n d p o s i t e d w h a t t h e y u n d e r s t o o d of t h e i r t h i n k i n g , a c t i o n s a n d crea
tivity c o g e n t l y a g a i n s t t h e t r a d i t i o n a l s t a t u s q u o
of w h i c h , to t h e m , p s y c h i a t r i s t s w e r e excellent r e p r e s e n t a t i v e s .
A m i s u n d e r s t a n d i n g h a s b e e n p o i n t e d o u t ; t h a t t h e s u r r e a l i s t s i n c o r r e c t l y c o n f l a t e d t h e i r c r i t i c i s m of t h e e x i s t i n g s y m b o l i c o r d e r w i t h t h e c r i s i s i n t h e s y m b o l i c o r d e r subjectively experi
e n c e d by t h e m e n t a l l y ill.1S u c h a n a n a l y s i s m i s j u d g e s t h e t e n s i o n t h e s u r r e a l i s t s d e l i b e r a t e l y m a i n t a i n e d b e t w e e n r e a s o n a n d i n s a n i t y . T h i s a l s o b e c o m e s clear in t h e i r a t t i t u d e t o w a r d s " t h e a r t of t h e i n s a n e " .
Artistry o f the Mentally III
W h a t , h o w e v e r , d i d t h e s u r r e a l i s t s k n o w of t h i s a r t f o r m ? Today it is a c o m m o n p l a c e to call H a n s P r i n z h o r n ' s b o o k Bildnerei der Geisteskranken (Artistry of the Mentally III) (1922) t h e " s u r r e a l i s t s ' Bible".2But w h a t d o e s t h i s p h r a s e m e a n exactly h o w c a n w e i n t e r p r e t it sensibly? W h a t s t a t u s d i d t h e b o o k really h a v e in P a r i s at t h e s t a r t of t h e 1 9 2 0 s ?
It w a s n o t t h e first i n d e p e n d e n t w r i t i n g o n t h e s u b j e c t i n F r a n c e . I n 1907, t h e p s y c h i a t r i s t P a u l M e u n i e r , u n d e r t h e p s e u d o n y m of M a r c e l Reja, b r o u g h t o u t h i s b o o k L'art chez les fous w h i c h a l r e a d y e m p h a s i s e d t h e a e s t h e t i c q u a l i t i e s of dif
f e r e n t t y p e s of w o r k s o f a s y l u m a r t . ' L'art chez les fous w a s read by a r t e n t h u s i a s t s a n d s u r e l y also
by a r t i s t s , b u t it w a s n o t notably i n f l u e n t i a l . T h i s m a y h a v e b e e n d u e to h i s t o r i c a l c i r c u m s t a n c e s , to t h e p r e s u m a b l y s m a l l p r i n t r u n , probably a l s o to t h e i n s i g n i f i c a n t a p p e a r a n c e of t h i s p a p e r b a c k e d i t i o n w i t h 17 b l a c k a n d w h i t e i l l u s t r a t i o n s .
I n c o n t r a s t , t h e look of Artistry of the Mentally III a l r e a d y reveals t h e fact t h a t for t h e a u t h o r , a e s t h e t i c a n d n o t m e d i c a l e l e m e n t s w e r e pri
m a r y (fig. 1).
W i t h its r o u g h l y 350 p a g e s i n 2 6 x 21.5 c m f o r m a t , b o u n d in black l i n e n w i t h w h i t e e m b o s s e d l e t t e r i n g , t h e p u b l i c a t i o n w a s r e m i n i s c e n t of a n a r t b o o k . T h e q u a l i t y of t h e p a p e r , e v e n m o r e t h e 187 i l l u s t r a t i o n s , o f w h i c h 2 0 w e r e o n plates, m a d e t h i s e v e n clearer. U p to t h a t p o i n t , n o p u b l i c a t i o n h a d s h o w n so m a n y w o r k s of t h i s k i n d , a n d in s u c h quality. T h e r e f o r e Artistry of the Mentally III m a d e t h i s s u b ject m a t t e r visible for t h e first t i m e . Probably b e c a u s e of t h i s , it i m m e d i a t e l y b e c a m e a suc
c e s s . T h e first e d i t i o n of 1,500 c o p i e s sold o u t quickly, t h e s e c o n d a p p e a r e d s o o n a f t e r in 1923.
Its r e c e p t i o n as a n illustrative w o r k is, of c o u r s e , e v e n m o r e j u s t i f i a b l e in f o r e i g n c o u n tries. At t h a t t i m e i n P a r i s , only a f e w p e o p l e c o u l d r e a d G e r m a n . T h u s for t h e a r t i s t s a r o u n d A n d r e B r e t o n t h e "Bible" w a s a r g u a b l y above all a ' P i c t u r e Bible'.
W o u l d r e a d i n g t h e text h a v e s o f t e n e d t h e e m p h a s i s ? T h e c a r e f u l t e r m " B i l d n e r e i " (art
istry) i n t h e title, a n d t h e s u b t i t l e : A Contribution to the Psychology and Psychopathology of Configu
ration, s e e m at first to c o n t r a d i c t its a p p e a r a n c e
Originalveröffentlichung in: Röske, Thomas (Hrsg.): Surrealismus und Wahnsinn / Surrealism and madness [Ausstellungskatalog], Heidelberg 2009, S. 10-18
T h o m a s R d s k e Inspiration and Unreachable Paradigm
a s a n a r t b o o k . H o w e v e r , P r i n z h o r n w a s n o t m u c h i n t e r e s t e d i n d i a g n o s t i c v i e w s . For h i m , at s t a k e w a s n o t h i n g less t h a n a n e w b a s i s for look
i n g at t h e a r t m a d e by p e o p l e w h o h a d b e c o m e e x t r e m e o u t s i d e r s b e c a u s e of t h e i r u n i q u e m e n tal e x p e r i e n c e s , a n d also t h r o u g h t h e i r isolation in i n s t i t u t i o n s . Especially b e c a u s e t h e s e m e n a n d w o m e n c r e a t e d w o r k t h a t w a s s u p p o s e d l y o u t s i d e all t r a d i t i o n a n d w i t h n o t h o u g h t of a n a u d i e n c e , it w a s m o r e a u t h e n t i c for h i m , " m o r e real" t h a n w o r k by p r o f e s s i o n a l a r t i s t s . T h e lat
ter, in spite of t h e i r " l o n g i n g for i n s p i r e d creativ
ity", u l t i m a t e l y p r o d u c e d " i n t e l l e c t u a l s u b s t i t u t e s " in h i s eyes.4
P r i n z h o r n p e r s i s t e d i n t h e ideology t h a t a r t w a s e s s e n t i a l l y t h e c r e a t i o n of e x p r e s s i o n , a n d t h e r e f o r e only accessible t h r o u g h e m p a t h y . B o t h t h i s view, a n d h i s p r e f e r e n c e for e x p r e s s i v e w o r k , j u s t i f y to call h i s b o o k a "Late E x p r e s s i o n ist Manifesto".5 But at t h e s a m e t i m e , in t h i s t h e a u t h o r s t a n d s at t h e c r o s s r o a d s of n e w inter
p r e t a t i o n s . B e c a u s e of h i s e x p e r i e n c e s in t h e W a r , f r o m w h i c h h e r e t u r n e d as a "nihilist",6 h e s h a r e d w i t h t h e s u r r e a l i s t s a r e j e c t i o n of tradi
t i o n a l r e a s o n d o m i n a t e d c u l t u r e . Like t h e m , h e t u r n e d to p s y c h o a n a l y s i s ( s o m e t h i n g t h a t w a s still g e n e r a l l y i n c o n c e i v a b l e for p s y c h i a t r i s t s ) a n d t r i e d to c o n n e c t like s o m e s u r r e a l i s t s7 t h e i d e a s of F r e u d a n d J u n g .xA n d in h i s f a s c i n a t i o n for t h e " u n c a n n y " i n s o m e i n s t i t u t i o n a l i s e d w o r k s , w h i c h l i m i t s r a t i o n a l a n d t r a d i t i o n a l a e s t h e t i c u n d e r s t a n d i n g (in p a r t i c u l a r w i t h t h e d r a w i n g s by N a t t e r e r , s e e cat. 13,15, 7 6 , 77), h e s e e m s to h a v e s e n s e d t h e n e w q u a l i t i e s o f ' s u r realist a e s t h e t i c s ' .
H o w e v e r , at first only P r i n z h o r n ' s t h o u g h t s a b o u t t h e a r t i s t r y of t h e m e n t a l l y ill a n d t h e a r t of t h e t i m e b e c a m e k n o w n to F r e n c h s p e a k i n g a u d i e n c e s t h r o u g h a n a r t i c l e h e w r o t e for t h e B e l g i a n m a g a z i n e Varietes i n 1 9 2 9 .y Later,
i n t h e b e g i n n i n g of t h e 1930s, E r n s t Jolowicz t r a n s l a t e d s e c t i o n s of Artistry of the Mentally III at m e e t i n g s of a s m a l l circle at S a i n t e A n n e H o s p i t a l in Paris.1 0A n d in 1955, a c h a p t e r o f t h e b o o k (about A u g u s t Natterer), t r a n s l a t e d by M e r e t O p p e n h e i m , a p p e a r e d in t h e m a g a z i n e Medium." A c o m p l e t e F r e n c h t r a n s l a t i o n w a s o n l y p u b l i s h e d in 1984.1 2
T h e Varietes a r t i c l e a p p e a r e d in t i m e for a n e x h i b i t i o n of Artistes Malades in t h e P a r i s gallery of M a x Bine, i n w h i c h 36 l o a n s f r o m H e i d e l b e r g w e r e a l s o to b e s e e n for t h e first t i m e . '3
O u r e x h i b i t i o n r e c o n s t r u c t s t h e s e l e c t i o n , w h i c h m u s t a l s o h a v e b e e n n o t i c e d by t h e s u r r e a l i s t s (cat. 5 6 9 1 ) . A l o n g s i d e t h i s , t h e collection of t h e p s y c h i a t r i s t A u g u s t e M a r i e w a s e x h i b i t e d , as it h a d b e e n at a n o t h e r P a r i s gallery at t h e t u r n of 1 9 2 7 / 2 8 (see cat. 4 9 5 5 a n d text by von B e y m e ) . To o u r k n o w l e d g e , t h e r e w e r e n o o t h e r exhibi
t i o n s o n t h e s u b j e c t in P a r i s . In t e r m s of p u b lications, w e c a n only m e n t i o n t h e s m a l l b o o k by t h e p s y c h i a t r i s t J e a n V i n c h o n , LArt et lafolie
(1924); it p r o f f e r e d 2 8 i l l u s t r a t i o n s , b u t a s u b s t a n t i a l l y m o r e c o n v e n t i o n a l i n t e r p r e t a t i o n t h a n P r i n z h o r n ' s w o r k . '4
Four creative procedures
T h e s u r r e a l i s t s r e f e r r e d to I'art des fous as a n i n s p i r a t i o n for t h e i r o w n a r t only in g e n e r a l t e r m s , if at all. T h e r e f o r e in t h e e x h i b i t i o n w e look at " m o r p h o l o g i c a l r e l a t i o n s h i p s " (Spies) b e t w e e n a s y l u m a r t a n d s u r r e a l i s a r t , a n d cor
r e s p o n d e n c e s i n creative p r o c e s s e s as a b a s e for f u r t h e r d i s c u s s i o n . U s i n g f o u r of t h e s e proc
e s s e s , w e j u x t a p o s e d r a w i n g s , p r i n t s a n d p a i n t i n g s by s u r r e a l i s t s w i t h w o r k s f r o m P r i n z h o r n ' s b o o k .
T h o m a s Roske Inspiration and Unreachable Paradigm
1. Automatic drawings
Ecriture automatique is at the birth of surreal
ism, and Breton emphasised it over and over again as the most important surrealistic tech
nique. The transferring of the idea of creation without the control of consciousness onto draw
ing was obvious. Andre Masson was a pioneer in this (see text by Steinlechner). We juxtapose four of his "automatic drawings" from 192426 with
"scribbles", "ornamental" and "playfulsymbolic drawings" plus one 'informal' painting from the Prinzhorn collection.'5
Two sheets of paper that m u s t come from a mediumistic context (cat. 7 and n) remind us that as early as 1900, such "received" works were described as "automatism"."5 However, the surrealists probably knew that French psychia
trists also used the concept for other written and drawn productions by asylum inmates, for example the drawings of the socalled Baron de Ravallet (real n a m e Albert G.) (cat. 51).17
2. The combination of unrelated elements The second important creative process of surre
alism also goes back to ecriture automatique. For the authors Andre Breton and Philippe Soupault, the appeal of the classic automatic texts in Les Champs Magnetique (1920) lay in the poetic power of unexpected word arrangements. In the first surrealist manifesto, Breton refers to it in Pierre Reverdy's call for the creation of images "born [...]
from a juxtaposition of two more or less distant realities": "The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be".'8 As a prototypical example, the comparison of a young man's beauty with the "unexpected meeting between a sewing machine and an umbrella on a dissectingtable"
in the Comte de Lautreamont's Chants de Mal- doror (1869) was repeatedly cited.'y
The surrealists developed different processes to generate amazing analogous visual images.
One was the Cadavre exquis (cat. 19, 20), a "game with folded paper in which a sentence or a draw
ing is constructed by several people, without each knowing the contribution of the previous player."20 Max Ernst developed the combina
tion of unrelated picture elements as a tech
nique from Dadaistic collages, and brought it to a high level of virtuosity, probably with.a prior knowledge of drawings from psychiatric institu
tions (see my text). In fact there are also several examples of this way of working in the Heidel
berg collection (cat. 13,15, 17, 18, 20). Recently a suspicion has arisen that this accumulation corresponds to a widespread prejudice among psychiatrists of the time about what 'mad art' looked like, resulting in a preselection of work in their donations to Heidelberg.2'
3. The paranoiaccritical method
A surrealistic process which refers explicitly to insanity is the paranoiac-critical method devel
oped by Salvador Dali. For his visual double meanings (cat. 23, 25, 26, 28), which work like a picture puzzle, he refers to changes of percep
tion in specific forms of mental crises (see text by Gorsen). H a n s Bellmer creates pictures in a similar manner; in our example (cat. 28), the already ambiguous representation in a print is complicated f u r t h e r by overprinting it with another etching. Here the dense association of different sexual images has generated formida
ble graphic expression.
Corresponding ambiguities can be found in pictures in the Prinzhorn collection (cat. 22, 24, 27). Nevertheless, information about the artists is usually too insubstantial to justify the adjec
tive "paranoiac" as a kind of diagnosis. Our juxtaposition does not include The Witch's Head
T h o m a s R o s k e Inspiration and Unreachable Paradigm
by A u g u s t N a t t e r e r , w h i c h h a s f r e q u e n t l y b e e n c o m p a r e d to Dali (fig. 2) s i n c e it is n e i t h e r illus t r a t e d in Artistry of the Mentally III, n o r w a s it p r e s e n t in t h e m e n t i o n e d P a r i s s h o w in 1 9 2 9 . It is d o u b t f u l t h a t Dali ever s a w t h e p i c t u r e .
4 . Figure amalgamations
T h e f o u r t h s u r r e a l i s t i c p i c t u r e p r o c e s s w a s a l s o u s e d by H a n s B e l l m e r : t h e a m a l g a m a t i o n of figures a n d t h e i r c o m p o n e n t s (cat. 32, 39), s o m e t i m e s r e a d a b l e as g r o w i n g or s p r o u t i n g o u t of e a c h o t h e r (cat. 34). T h i s t e c h n i q u e also a l l o w e d h i m to d e p i c t a c o n d e n s i n g of s e x u a l i m a g i n a t i o n . Like a n a n a g r a m , e r o t i c i z e d b o d y p a r t s a r e f r e e l y f u s e d a n d m u l t i p l i e d (see t h e c o n t r i b u t i o n by v o n B e y m e ) .
S i m i l a r a p p r o a c h e s d e f i n e s o m e p i c t u r e s of t h e H e i d e l b e r g collection. T h e c o m b i n a t i o n s h e r e a r e e s p e c i a l l y evocative. All f o u r creative t e c h n i q u e s s i d e s t e p easy r a t i o n a l u n d e r s t a n d i n g of t h e r e p r e s e n t a t i o n s a n d lead to f o r m s of t h i n k i n g close to p r i m a r y p r o c e s s e s . But t h e last of t h e f o u r j u x t a p o s i t i o n s e s p e c i a l l y i n f l u e n c e s t h e p e r c e p t i o n of t h e o n e a n d of t h e o t h e r . Inevi
tably, t h e v i e w e r s t a r t s to e r o t i z e t h e p i c t u r e s of Klett (cat. 30, 31) a n d A n d e r e s (cat. 33). A n d t h r o u g h t h e s a d i s t i c t e n d e n c i e s in t h e d r a w i n g of S c h n e l l e r (cat. 35), t h o s e i n B e l l m e r ' s Cephalo- pode b e c o m e c l e a r (cat. 36).
D r a w i n g s a n d p a i n t i n g s by U n i c a Z u r n o f f e r m a n y m o r e e x a m p l e s of figure f u s i o n s (cat.
4 1 4 8 ) . W e h a v e a s s e m b l e d a s m a l l r e t r o s p e c t i v e of t h i s 'late s u r r e a l i s t ' (and l i f e l o n g c o m p a n i o n of H a n s B e l l m e r ) i n t h e e x h i b i t i o n , b e c a u s e s h e w a s o n e of f e w a r t i s t s c l o s e to Breton w h o k n e w i n s a n i t y n o t j u s t as a n idea (see t e x t s by B r a n d C l a u s s e n a n d Safarova). For t h e first t i m e , a n o v e r v i e w of h e r a r t i s t i c d e v e l o p m e n t i n c l u d e s t w o p i c t u r e s w h i c h s h e d r e w in 1 9 6 2 / 6 3 w h i l e s t a y i n g in S a i n t e A n n e H o s p i t a l (cat. 4 6 , 47).
True surrealism
Finally, t h e s u r r e a l i s t ' s p e r c e p t i o n of t h e a r t of a s y l u m i n m a t e s i n c o r p o r a t e s t h e i r c o l l e c t i n g a n d i n c l u d i n g it in t h e i r g r o u p e x h i b i t i o n s (see text by von Beyme). T h u s Breton a c q u i r e d t w o objets d'alienes (cat. 4 9 , 50) as early as 1 9 2 9 (at t h a t early P a r i s e x h i b i t i o n w i t h artistes maladies).
T h e s e a r e e x a m p l e s of a s p e c i f i c t y p e o f s u r r e a l ist o b j e c t , b e s i d e t h e objets naturels, objets trouves, objets oniriaue etc.2 2
For M a c G r e g o r , t h e s u r r e a l i s t s paradoxically s o u g h t "to c r e a t e a pictorial a r t t h a t a l r e a d y e x i s t e d " i n I'art desfous.Zi Still m o r e t h a n for p i c t u r e s or s c u l p t u r e s m a d e by " m a d m e n " , t h i s s u r e l y a c c o u n t s for objets d'alienes. For t h e sur
realists, t h e y w e r e n o t only a m o d e l (for B r e t o n for e x a m p l e , cf. p. 161), b u t as " f i n d s " f r o m t h e r e a l m b e y o n d r e a s o n , t h e y a r e e x a m p l e s of a t r u e s u r r e a l i s m i n a s m u c h as acts of m a n i a c s t h a t w o u l d n o t b e c a r r i e d o u t by t h e psychically h e a l t h y c o u l d b e s e e n as t r u l y s u r r e a l i s t acts.
T h i s is t h e r e a s o n why, for B r e t o n , t h e m e m ory of t h e s o l d i e r of S a i n t D i z i e r w h o b e l i e v e d t h e W o r l d W a r w a s a s i m u l a t i o n a n d w h o "con
d u c t e d " t h e h a i l of shell fire o n t h e b a t t l e f i e l d (see p. 116118), " n e v e r faded"2 4 a n d s u r e l y also t h e r e a s o n for t h e r e p r i n t of t h e 1 9 2 6 n e w s p a p e r r e p o r t in La Revolution Surrealiste a b o u t t w o C z e c h a s y l u m i n m a t e s w h o t h o u g h t t h e y w e r e wild a n i m a l s a n d tore e a c h o t h e r to p i e c e s (see p. 134136). A n d is n o t Nadja (1928) a r e p o r t of a g e n u i n e l y s u r r e a l i s t life, w h i c h w a s c o h e r e n t in a way t h a t w a s n e v e r p o s s i b l e for t h e psychically stable m e m b e r s of t h e g r o u p ?
T h e s e c o n s i d e r a t i o n s s h e d a s p e c i a l l i g h t o n t h e " f a m o u s "2 5 revolver of G u i l l a u m e P u j o l l e (cat. 1) w h i c h B r e t o n i n c l u d e d in t h e e x h i b i t i o n Le Surrealisme at t h e M a e g h t G a l l e r y in P a r i s in 1947.2 6T h e o b j e c t will inevitably h a v e called u p
T h o m a s Roske I n s p i r a t i o n a n d U n r e a c h a b l e P a r a d i g m
from memory that position in the second sur
realist Manifesto (1930) which has generated so m u c h discussion: "The simplest surrealist act consists of dashing down into the street, pistol in hand, and firing blindly, as fast as you can pull the trigger, into the crowd."27 Although many a surrealist may have admitted that they have already once dreamed of doing this, it would need a m a d m a n to carry it out.
N o t e s
1 H . Foster, " B l i n d e d Insights: O n t h e M o d e r n i s t Reception o f t h e A r t o f the M e n t a l l y III", October 97 ( S u m m e r 2001), 3 - 3 0 , especially 1 8 - 3 0 .
2 W. S c h m i e d , „ P r i n z h o r n u n d die Kunst des 20. Jahrhun
d e r t s " , in Klages, Prinzhorn und die Persdnlichkeitspsy- chologie, ed. F. Tenigl (Hestia 1986/87) ( B o n n , 1987), 6 5 7 9 , S. 72; W. Spies called it " o n e o f t h e holy b o o k s o f t h e S u r r e a l i s t s " already in 1967 ( " G e n i e u n d Irrsinn. Z u r A u s s t e l l u n g ' A r t B r u t ' in Paris", Frankfurter Allgemeine Zeitung, 16 May 1967, 12); J. M . M a c C r e g o r " u n d e r g r o u n d Bible" o f t h e Paris o f its t i m e (The Discovery of the Art of the Insane [ P r i n c e t o n , 1989], 281).
3 M . Reja, L'Art chez tesfous (Paris, 1907). For earlier inter
est in a s y l u m art in France cf. M a c C r e g o r , The Discovery of the Art of the Insane, 103116, 170 ff.
4 H. P r i n z h o r n , Artistry of the Mentally III. [1922], transl. Eric v o n B r o c k d o r f f ( N e w York, 1972), 272.
5 B. B r a n d C l a u s s e n , " P r i n z h o r n s Bildnerei der Ceistesk- ranken - ein s p a t e x p r e s s i o n i s t i s c h e s M a n i f e s t " , in Vision und Revision einer Entdeckung ( H e i d e l b e r g , 2001), 1131.
6 H . P r i n z h o r n , " D i e e r d e n t r u c k b a r e Seele", in Der Leuchter 8 (1927), 2 7 7 2 9 6 , 279.
7 R. Z u c h , Die Surrealisten und C.C.Jung ( W e i m a r , 2 0 0 4 ) . 8 See T. Rbske, Der Arzt als Kunstler. Asthetik und Psycho-
therapie bei Hans Prinzhorn (1886-1933) (Bielefeld, 1995), 221 ff.
9 H . P r i n z h o r n , "A p r o p o s de I'art des alienes", in Variitis Vol. 1 (1929), 577581; B r e t o n ' s r e m a r k s a b o u t P r i n z h o r n ' s b o o k in his essay " f a r t des f o u s , la cle des c h a m p s "
(1948) lead t o t h e a s s u m p t i o n t h a t he o n l y read t h e Var- lute's article.
10 See I. H a g e l e , Der Einflufi von Art Brut auf Richard Lindner ( M i k r o f l c h e e d i t i o n ) (Berlin, 2 0 0 3 ) , 111118.
11 H . P r i n z h o r n , " A u g u s t N e t e r " (transl. M . O p p e n h e i m ) , in Medium: Communication surrialiste, N o u v e l l e Serie 4
(January 1955), 2 7 3 0 .
12 H . P r i n z h o r n , Expressions de lafolie. Dessins, peintures, sculptures d'asile, ed. M a r i e l e n e Weber, transl. M a r i e l e n e W e b e r a n d A l a i n Brousse (Paris, 1984).
13 T h e issue o f Variitis was p u b l i s h e d o n 15 M a r c h , t h e e x h i b i t i o n at Max Bine was s h o w n f r o m the 31 May t o 15 ) u n e 1929.
14 J. V i n c h o n , L'Art et lafolie (Paris, 1924); a revised e d i t i o n was p u b l i s h e d in 1950.
15 P r i n z h o r n , Artistry of the Mentally III, 4 4 , 4 6 a n d 261.
16 R. Cardinal, " S u r r e a l i s m a n d t h e P a r a d i g m o f t h e Creative S u b j e c t " , Parallel Visions ( P r i n c e t o n , 1992), 94119, 9 6 a n d 105. For the r e l a t i o n s h i p b e t w e e n m e d i u m i s m a n d s u r r e a l i s m , see P. C o r s e n , " D e r E i n t r i t t des M e d i u m s i m u s in die K u n s t g e s c h i c h t e . Das U n e r k l a r l i c h e der s u r r e a l i s t i s c h e Schlussel", in The Message. Kunst und Okkultismus, K u n s t m u s e u m B o c h u m (Cologne, 2 0 0 7 ) , 1732.
17 M. Leroy, " D e s s i n s d ' u n d e m e n t precoce avec etat m a n i a q u e " , Bulletin de la Sociiti Clinique de Midecine Mentale 4 0 91 1) , 3 0 3 3 0 8 . I t h a n k M a r i e l e n e W e b e r for p o i n t i n g this text o u t t o m e .
18 A. Breton, " M a n i f e s t o o f S u r r e a l i s m " [1924] Manifestoes of Surrealism, transl. R. Seaver and H. R. Lane (Ann A r b o r , 1972). 147, 20.
19 A. Breton, Entritiens - Gesprache ( A m s t e r d a m , 1996), 51.
2 0 [A. Breton], " C a d a v r e exquis", in Dictionnaire Abrtgt du Surrialisme (Paris, 1938), 6.
21 J. K a t e r n d a h l , Bildnerei von Schizophrenen ( H i l d e s h e i m , 2005), especially 53 (., 68, 91.
22 See the e n t r y " O b j e t " in Dictionnaire Abrtgi du Surreal
ism, 18 f.
23 M a c C r e g o r , The Discovery of the Art of the Insane, 291.
24 Breton, Entretiens, 35.
25 H . B e l l m e r in a letter t o G. Ferdiere 24 February 1948, q u o t e d after A l e x a n d e r Stefanov, Considerations sur I'ceuvre des Cuillaume Pujolle, M a i t r i s e d ' h i s t o i r e de I'art, P a n t h e o n S o r b o n n e U n i v e r s i t e Paris (Paris, 1999), 42.
26 Ibid., 4 2 4 4 a n d 135.
27 A. Breton, " S e c o n d M a n i f e s t o f S u r r e a l i s m " [1930], in B r e t o n , Manifestoes of Surrealism, 117187, 125.
