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The Neurobiology of Painting

E-BookPDFDRM AdobeE-Book
360 Seiten
Englisch
Elsevier Science & Techn.erschienen am19.05.2006
The book presents a basis for the interaction of the brain and nervous system with painting, music and literature, and a discussion of art from multiple facets - such as anatomy, migraine, illusion and evolutionary biology. The book explores several aspects of the neurobiology of painting, including evolutionary neurobiology, sensation vs. perception, the visual brain and how the mind works, and also explores the affects of brain disorders and trauma on artist, with a concluding chapter on Frida Kahlo and the spinal cord injury that influenced her painting.mehr

Produkt

KlappentextThe book presents a basis for the interaction of the brain and nervous system with painting, music and literature, and a discussion of art from multiple facets - such as anatomy, migraine, illusion and evolutionary biology. The book explores several aspects of the neurobiology of painting, including evolutionary neurobiology, sensation vs. perception, the visual brain and how the mind works, and also explores the affects of brain disorders and trauma on artist, with a concluding chapter on Frida Kahlo and the spinal cord injury that influenced her painting.
Details
Weitere ISBN/GTIN9780080463612
ProduktartE-Book
EinbandartE-Book
FormatPDF
Format HinweisDRM Adobe
Erscheinungsjahr2006
Erscheinungsdatum19.05.2006
Seiten360 Seiten
SpracheEnglisch
Artikel-Nr.2739274
Rubriken
Genre9200

Inhalt/Kritik

Inhaltsverzeichnis
1;Cover page;1
2;Contents;6
3;Contributors;14
4;Preface;16
5;Chapter 1: Evolutionary Neurobiology and Art;17
5.1;I. Introduction;17
5.2;II. Definitions;18
5.3;III. Play;19
5.4;IV. Shock of the New;20
5.5;V. Neurophysiology;20
5.6;VI. Landscape;22
5.7;VII. Mate Selection;24
5.8;VIII. Parts and Wholes;26
5.9;IX. Imagination;28
5.10;References;29
6;Section I: Visual Aspects;31
6.1;Chapter 2: Perceptual Portraits;33
6.1.1;I. Introduction;33
6.1.2;II. Medical Societies in London;35
6.1.3;III. Anatomists of the Brain;37
6.1.4;IV. Microscopists;40
6.1.5;V. Functions of the Brain;44
6.1.6;VI. Dysfunctions of Behavior;49
6.1.7;VII. Conclusions;52
6.1.8;References;52
6.2;Chapter 3: The Neuropsychology of Visual Art: Conferring Capacity;55
6.2.1;I. Introduction;55
6.2.2;II. Disposition to Produce Art;56
6.2.3;III. Visual Vocabulary;57
6.2.4;IV. Descriptive Accuracy;58
6.2.5;V. Enhanced Expressivity;60
6.2.6;VI. Conclusions;62
6.2.7;References;63
6.3;Chapter 4: Vision, Illusions, and Reality;67
6.3.1;I. Introduction;67
6.3.2;II. Functional Specialization in the Visual Brain;68
6.3.3;III. Face and Object Recognition;69
6.3.4;Recommended Reading;70
6.4;Chapter 5: Localization in the Visual Brain;71
6.4.1;I. Introduction;71
6.4.2;II. A Note on Localization;72
6.4.3;III. The Painter at the Bedside;74
6.4.4;IV. The Neurologist in the Picture Gallery;76
6.4.5;V. Commentary: The Three Cultures;78
6.4.6;Acknowledgment;79
6.4.7;References;80
7;Section II: Episodic Disorders;83
7.1;Chapter 6: Neurology, Synaesthesia, and Painting;85
7.1.1;I. Introduction;85
7.1.2;II. Case of the Color-Blind Artist;87
7.1.3;III. Normals and Synaesthesia;88
7.1.4;IV. Metaphor and Synaesthesia;91
7.1.5;References;93
7.2;Chapter 7: Fainting In Classical Art;95
7.2.1;I. Introduction;95
7.2.2;II. Blackouts in Paintings;96
7.2.3;III. Crucifixion Fainting;96
7.2.4;IV. Historical Fainting;97
7.2.5;V. Genre Fainting;99
7.2.6;VI. Swooning;100
7.2.7;VII. Men Fainting;101
7.2.8;VIII. Conclusions;103
7.2.9;References;103
7.3;Chapter 8: Migraine Art In The Internet: A Study Of 450 Contemporary Artists;105
7.3.1;I. Introduction;105
7.3.2;II. Methods;106
7.3.2.1;A. Identification of Study Sample;106
7.3.2.2;B. Assessed Variables;106
7.3.2.3;C. Statistical Evaluation;107
7.3.3;III. Results;107
7.3.3.1;A. Characteristics of Study Sample;107
7.3.3.2;B. Relationships Between Migraine and Art Making;108
7.3.3.3;C. Participation in Migraine Art/Headache Art Contests;117
7.3.3.4;D. Analysis of Artists' Media and Representations of Migraine Symptoms;118
7.3.4;IV. Discussion;120
7.3.5;References;122
7.4;Chapter 9: Sarah Raphael's Migraine With Aura as Inspiration for the Foray of Her Work Into Abstraction;125
7.4.1;I. Introduction;125
7.4.2;II. Art Critics' Notions on Sarah Raphael's Migraine with Aura;126
7.4.3;III. History of Illness;126
7.4.4;IV. Impact of Sarah Raphael's Migraine with Aura on Her Art;129
7.4.5;V. Conclusions;132
7.4.6;Acknowledgment;133
7.4.7;References;133
7.5;Chapter 10: The Visual Art of Contemporary Artists With Epilepsy;135
7.5.1;I. Introduction;135
7.5.2;II. Background to the Collection;136
7.5.3;III. Artistic Themes in the Works of Contemporary Artists with Epilepsy;137
7.5.3.1;A. Seizure Experiences;137
7.5.3.2;B. Psychiatric Comorbidity;139
7.5.3.3;C. Psychosocial Aspects of Epilepsy;141
7.5.3.4;D. Nonepilepsy Related;146
7.5.4;IV. Conclusions;146
7.5.5;References;147
8;Section III: Brain Damage;149
8.1;Chapter 11: Creativity in Painting and Style in Brain-damaged Artists;151
8.1.1;I. Introduction;151
8.1.2;II. Change in Creativity and Style in Artists after Brain Lesion;155
8.1.3;III. Change of Style in Artists;157
8.1.4;References;162
8.2;Chapter 12: Artistic Changes in Alzheimer's Disease;163
8.2.1;I. Introduction;163
8.2.2;II. Willem de Kooning (1904-1997) and Other Artists with Alzheimer's Disease;166
8.2.3;III. William Utermohlen (b. 1933);168
8.2.4;IV. Positive and Negative Cognitive Phenomena;172
8.2.5;V. Conclusions;176
8.2.6;Acknowledgment;176
8.2.7;References;176
9;Section IV: Cerebrovascular Disease;179
9.1;Chapter 13: Stroke In Painters;181
9.1.1;I. Introduction;181
9.1.2;II. Case Studies of Painters with Right Hemisphere Stroke;182
9.1.2.1;A. Anton Raumlderscheidt;182
9.1.2.2;B. Otto Dix;183
9.1.2.3;C. Johannes Thiel;186
9.1.2.4;D. Lovis Corinth;186
9.1.2.5;E. Wolfgang Aichinger-Kassek;191
9.1.2.6;F. Federico Fellini;191
9.1.2.7;G. Reynold Brown;192
9.1.2.8;H. Tom Greenshields;194
9.1.2.9;I. Schnider et al.;195
9.1.2.10;J. Vigouroux et al.;195
9.1.2.11;K. Blanke et al.;195
9.1.2.12;L. Guglielmo Lusignoli;195
9.1.2.13;M. Kurt Schwitters;196
9.1.3;III. Case Studies of Painters with Left Hemisphere Stroke;196
9.1.3.1;A. Paul-Elie Gernez;196
9.1.3.2;B. Daniel Urrabieta y Vierge;197
9.1.3.3;C. Zlatyu Boijadjiev;198
9.1.3.4;D. Ernst Oldenburg;199
9.1.3.5;E. Beni Ferenczy;199
9.1.3.6;F. Polish painter "R. L.";200
9.1.3.7;G. Afro Basaldella;200
9.1.3.8;H. Arnold Boumlcklin;200
9.1.3.9;I. Caspar David Friedrich;201
9.1.4;IV. Other Cases;202
9.1.4.1;A. The Case of an 87-Year-Old Artist;202
9.1.4.2;B. Tommy McHugh;202
9.1.4.3;C. Jon Sarkin;202
9.1.5;V. Conclusions;203
9.1.6;References;205
9.2;Chapter 14: VisuoSpatial Neglect In Lovis Corinth's Self-Portraits;209
9.2.1;I. Introduction;209
9.2.2;II. Mature Style-Late Style?;212
9.2.3;III. Hospitalization;215
9.2.4;IV. Rehabilitation;215
9.2.5;V. Self-Portraiture;217
9.2.6;VI. Drawings;217
9.2.7;VII. Paintings;220
9.2.8;VIII. Discussions;225
9.2.9;References;228
9.3;Chapter 15: Art, Constructional Apraxia, and the Brain;231
9.3.1;I. Introduction;231
9.3.2;II. Constructional Apraxia;231
9.3.3;III. What Attributes are Customarily Needed to Make a Painting or Sculpture?;232
9.3.4;IV. The Frontal Lobes and Their Projections;233
9.3.4.1;A. Nature of the Deficits;233
9.3.4.2;B. Anatomy;234
9.3.4.3;C. Testing at the Bedside;235
9.3.5;V. The Parietal Lobes and Their Projections;238
9.3.5.1;A. Left Parietal Lobe;238
9.3.5.2;B. Right Parietal Lobe;241
9.3.6;References;248
10;Section V: Genetic Diseases;249
10.1;Chapter 16: Neurogenetics in Art;251
10.1.1;I. Introduction;251
10.1.2;II. How Neurogenetic Disease Affected the Artist's Work?;251
10.1.3;III. Neurogenetic Disease Depicted in Art;253
10.1.4;IV. Conclusions;255
10.1.5;References;255
10.2;Chapter 17: A Naiumlve Artist of St IVES;257
10.2.1;I. Introduction;257
10.2.2;II. Bryan Pearce;257
10.2.3;III. His Painting;259
10.2.4;IV. His Sister;262
10.2.5;V. Phenylketonuria;265
10.2.6;VI. Another Famous Case;267
10.2.7;References;268
10.3;Chapter 18: Van Gogh's Madness;269
10.3.1;I. Introduction;269
10.3.2;II. His Art;270
10.3.3;III. His Illness;271
10.3.4;IV. Ear Amputation;272
10.3.5;V. His Attacks;274
10.3.6;VI. What Disorder Did van Gogh Have?;277
10.3.6.1;A. Epilepsy;277
10.3.6.2;B. Schizophrenia;278
10.3.6.3;C. Neurosyphilis;278
10.3.6.4;D. Bipolar Disorder;278
10.3.6.5;E. Substance Abuse;279
10.3.6.6;F. Menieres Disease;281
10.3.6.7;G. Acute Intermittent Porphyria;281
10.3.7;References;284
10.4;Chapter 19: Absinthe, The Nervous System and Painting;287
10.4.1;I. Introduction;287
10.4.2;II. Art as a Reflection of Life;288
10.4.3;III. Medical Effects of the Absinthe;289
10.4.4;IV. Effect of Absinthe on Artistic Expression;290
10.4.5;V. Conclusions;292
10.4.6;Acknowledgment;293
10.4.7;References;294
11;Section VI: Neurologists As Artists;295
11.1;Chapter 20: Sir Charles Bell, KGH, FRS, FRSE (1774-1842);297
11.1.1;I. Introduction;297
11.1.2;II. Charles Bell's Early Years;298
11.1.3;III. David Allan (1774-1796);298
11.1.4;IV. Raphael Cartoons Studied by Bell;299
11.1.5;V. Corunna Oils in 1809;300
11.1.6;VI. After Corunna in 1809 and Marriage in 1811;300
11.1.7;VII. Waterloo in 1815 and the Watercolors of 1836;300
11.1.8;VIII. After Waterloo;301
11.1.9;IX. Italian Tour in 1840;303
11.1.10;X. Death at Hallow Park in Worcestershire;303
11.1.11;XI. After Bell;303
11.1.12;References;304
12;Section VII: Miscellaneous;307
12.1;Chapter 21: Peg Leg Frieda;309
12.1.1;I. Introduction;309
12.1.2;II. Background;309
12.1.3;III. Poliomyelitis;310
12.1.4;IV. School;310
12.1.5;V. Accident and Artist Debut;311
12.1.6;VI. Diego Rivera;311
12.1.7;VII. Suffering and Painting;312
12.1.8;VIII. Disease and Creativity;314
12.2;Chapter 22: The Deafness of Goya (1746-1828);317
12.2.1;I. Introduction;317
12.2.2;II. The Duchess of Alba;322
12.2.3;III. What was Goya's Illness?;323
12.2.4;IV. Differential Diagnosis;324
12.2.5;V. Vogt-Koyanagi Syndrome;324
12.2.6;VI. Black Paintings;328
12.2.7;References;331
13;Index;333
14;Contents of Recent Volumes;339mehr

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