Kind of brut

This article deals with a genre in art. For the English rock band see Art Brut (band) .

Image by Adolf Wölfli

The art brut ( French. [Pronunciation aʁ bʁyt] for "raw art") is a collective term for autodidactic art of lay people, children, people with a mental illness or a mental disability and social outcasts, such as inmates of prisons, but also socially Mismatched. The name came from the French painter Jean Dubuffet , who dealt in detail with a naive and anti-academic aesthetic. Art brut means an art in its raw state - beyond established forms and currents. In the Anglo-American language area, the term Outsider Art (“ outsider art”) is used instead , which is increasingly spreading in the German language area. However, both terms are partly controversial.

definition

Letter from a psychiatric patient in 1909 from the Prinzhorn Collection

The term “Art brut” means art in its raw, i.e. original state, and is related to Jean Dubuffer's art theoretical views. In Dubuffet's own works, stylistic references are unmistakable; they are often characterized as “Art Brut” themselves, but this is controversial. What is decisive, however, is the connection to Dubuffer's activity as a collector. The artist considered the imprint "Art brut" to be his intellectual property and reserved the right to grant or withdraw it independently, for example in the case of Gaston Chaissac . This claim to sole representation and the limitation to his own collection - the Collection de l'art brut - were criticized early on by André Breton and later Harald Szeemann . Michel Thévoz and Lucienne Peiry , curators of the collection in Lausanne , allow the stylistic term “Art brut” to apply exclusively to these works, putting it in competition with other names for marginalized artistic forms of expression: “Sculpture of the mentally ill” ( Hans Prinzhorn ), “ state-related art "," naive art "," folk art "or" folk art "," deviant art "," neurodiverse art "," raw art "," vernacular art "," visionary art "," Marginal Art ”and“ Authentic Art ”( Theodor W. Adorno ). Despite its openness and fuzziness and its ideologization, the term “Art brut” has established itself internationally and has contributed significantly to the recognition of marginalized art forms. However, the terms mentioned are not congruent as they arise from different, sometimes ideologically charged, concepts.

The term “Art brut” coined by Dubuffet or the English equivalent “Raw Art” emphasize the originality of the art products it describes, the “uneducated” design outside of an artistic scene and tradition. It thus also contains a point directed against established art, the current artist training and the professionalized art business: “We understand by this [under Art brut] works by people who have not suffered any damage from the artist culture, in other words, the instinct to imitate, in contrast has little or no share in what happens with intellectuals, so that the authors get everything (design object, material used, means of implementation, formal elements, writing styles) from within themselves and not from the drawers of classical art or the art direction which is currently in fashion. ”The expression“ Outsider Art ”, on the other hand, puts the social status of the artist at the center of attention, without deriving from it the maxim of“ anti-cultural ”art, the claim to“ unspoiled ”,“ unspoiled ”art products . The ultimately volatile term “marginal art” aims at their “marginality” in the art market. The term “naive art” implies a certain attitude of expression, a certain view of the environment characterized by childlike innocence. The term “state-based art” and the term “sculpting the mentally ill”, which is no longer in use today, denote art products by people with a mental disability or a mental illness, so they are essentially congruent, even if Prinzhorn and Navratil have ideas about what is mental Disease represents, have partially changed. The expression “visionary art” focuses on the content of the picture and refers not only to pictures by self-taught people, but also, for example, to those by recognized surrealist painters. Most pictures by amateur artists can be assigned to two or more of these terms. Stylistic or sociological overlaps also exist with other artistic movements and art forms, such as peasant painting , Art Informel , street art or graffiti .

Based on Dubuffer's conception, the term Art brut initially referred exclusively to works of fine art. Soon, however, it was also applied to other genres of art, insofar as these were related to pictorial works, and later also related to isolated poetic works. Ernst Herbeck , for example , who - at the instigation of Leo Navratil - began to write poetry but never was a pictorial artist, is now often also counted among the Art Brut artists. The expression appears less often in connection with music.

The term Art Brut is often used as if it were an art movement with a uniform style. However, there are at most certain recurring patterns in Art brut, but no overarching stylistic similarities. “One cannot speak of an Art brut style, if only because Art brut is produced by individuals who do not communicate with one another.” Art brut is in principle timeless, even if in earlier epochs it was barely comprehensible due to a lack of reception and tradition is not restricted to any particular geographic area.

However, all categorizations of marginalized artistic forms of expression are controversial precisely because of their success. According to Martina Weinhart, the use of the word tells “at the same time the history of these cultural boundaries, which have been drawn again and again, of different understandings and rules of marginal cultural expressions and, in principle, of how society deals with its margins.” brut often no longer closes the categorization as amateur art outside the art world.

development

Long before Dubuffet, psychiatrists such as the French Paul Meunier alias Marcel Réja ( L'art chez les fous, 1907; German: The art of the crazy ), the Swiss Walter Morgenthaler ( A mentally ill as an artist about Adolf Wölfli , 1921) and the German Hans Prinzhorn ( Bildnerei der Geisteskranken, 1922) with images of people with a mental illness or a mental handicap, and recognized them as having an aesthetic value beyond their diagnostic significance. As early as 1914, the German publicist Wieland Herzfelde wrote : “The mentally ill person is actually capable of being happier than we can: because he is more natural and more human than we are. Feeling drives him to act, not logic. His doing is powerful, immediate. 'Religion of the will' is what I call madness: only the will can raise the feeling of strength. The mentally ill is artistically gifted. ”The special artistic value of the pictures of the mentally ill was, however, vehemently denied by other authors. The German neuroscientist Richard Arwed Pfeifer wrote around 1923: "What we still find in the drawings of the mentally ill in terms of really artistic content appears to be the rest of health."

With his concept of Art brut, Dubuffet then created an “area in which the romantic imagination of the brilliant artist and with him the idea of ​​immediate creativity can still be maintained. Here it (survives) still lives, the idea of ​​the imagery created entirely from within itself, of visionary gazing without preconditions. ”In the Anglo-American countries, in addition to the term“ Outsider Art ”, which was introduced by the English art historian Roger Cardinal ,“ Visionary art ”and“ Self-taught art ”, especially after the extensive traveling exhibition Outsiders , which Cardinal organized together with the artist and collector Victor Musgrave in 1979 for the Arts Council of Great Britain .

This cultural recognition process has been accompanied by the intensive and successful promotion of artistic work for therapeutic purposes in the last few decades, for example by the psychiatrist Leo Navratil in the Künstlerhaus Gugging in Klosterneuburg near Vienna , the Kunsthaus Kannen in Münster / Westphalia , the Die Schlumper in Hamburg or La Tinaia - Centro di Attività Espressive in Florence . Many works were no longer created spontaneously, but at the suggestion or even under the guidance of a psychiatrist or even a specially trained therapist, and a start was made on bringing works created in such institutions to the art market. Meanwhile, a separate segment of the art trade specializes in Art brut with international fairs, for example the Kunstköln or the New York Outsider Art Fair . Corresponding works are also offered at campaigns, and works by the best-known representatives of Art brut, who have long been elevated to the rank of generally recognized artists, often achieve high results. In addition, magazines, such as the English magazine Raw Vision , which relate to Art brut, appear regularly . Since 2000 there has been the Euward , the European art award for painting and graphics for artists with intellectual disabilities. Talents among these offer “supervised studios” the prerequisites to work as freelance artists. In 2013, self-taught artists and outsiders were very well represented at the 55th Venice Biennale . In addition to the Collection de l'Art Brut founded by Dubuffet in Lausanne, museums specializing in Art brut and outsider art, some of which are funded by foundations, were opened in many places. Classical art museums also began to dedicate exhibitions to Art Brut artists, for example the Aargauer Kunsthaus in 1961 to Louis Soutter , and to collect specific works from this area. Even pop musicians dealt with Art Brut in their work, such as David Bowie in his 1995 album 1. Outside , and a British indie rock band founded in 2003 even called themselves Art Brut .

In view of these latest developments, Art brut - contrary to Dubuffet's original concept - has to be viewed as a separate, established artistic scene that is networked in many ways with all areas of the art world. "What was discovered in the madhouse 100 years ago and worked in silence by loners and others outcasts from 'good' society - perhaps always - has become hip and has definitely caught on in the art market, which is always looking for new trends, and on the noisy jet set."

environment

Art beyond established art forms was created before 1900, for example in the works of Giuseppe Arcimboldo , Francisco de Goya , Hieronymus Bosch and in the sculptures in the Parco dei Mostri of the Villa Orsini in Bomarzo . Others suffered from mental illnesses, were even sent to the madhouse like the Dutch baroque painter Pieter de Hooch or lived on the fringes of society. Others, such as Vincent van Gogh , have been found to have a mental illness or, as with Caspar David Friedrich or Edvard Munch , suspect one. They all fulfilled at least some of the criteria that make an Art Brut artist by today's standards.

In the 19th century, images of the mentally ill are attested in England, Sweden and France. In France, Philippe Pinel , head doctor at the Hôpital Salpêtrière since 1794 , campaigned for the promotion of artistic activities in psychiatric institutions. In German-speaking lunatic asylums, the later psychiatric clinics, pictures of patients from the middle of the 19th century were filed in their files or collected separately by individual psychiatrists. In 1900, works by the mentally ill were exhibited for the first time at the Bethlem Royal Hospital in London.

In the years before the First World War, artists from the group Der Blaue Reiter such as Wassily Kandinsky , August Macke , Franz Marc , Paul Klee and Alexej Jawlensky showed a particular interest in the art of the mentally ill, but also in the art of children and so-called folk art. They saw in it a special power of expression, which resulted from their supposed lack of sophistication. Examples of this were printed in the first and only edition of their publication in 1912, the almanac Der Blaue Reiter . At the time, Klee wrote in his diary: “There are still the early beginnings of art, as one would find more in ethnographic collections or at home in one's nursery. [...] Parallel phenomena are the work of the mentally ill. "

The related art forms are diverse. A variety of Art brut are works of art made from everyday objects, rubbish and broken pieces, structures composed of shells, sculptures , decorations and Land Art . Examples are Franz Gsellmann's world machine and the Giardino dei Tarocchi . Another possible characteristic is the horror vacui , obeying it, the entire drawing surface or the entire space is filled, as it were, the conversion of the messie syndrome , of all picking up and recycling, into works of art.

In the post-war period, art therapy and the anti- psychiatry movement also contributed to the increasing appreciation of Art brut.

Collection de l'Art Brut Lausanne

In 1947 Dubuffet and a group of like-minded people, including the surrealist André Breton , founded the Compagnie de l'Art brut in Paris , whose aim was to document and collect alternative art. In the basement of René Drouin's gallery in Paris , there were solo exhibitions with works by Adolf Wölfli , Aloïse Corbaz and others.

In 1949, 200 works by 63 artists were presented there under the title L'art brut préferé aux arts culturels . In the catalog, Dubuffet defined Art brut as a subversive, alternative art form apart from the stifling “cultural arts”. In this text, which was conceived as a manifesto, he also emphasized that art brut beyond cultural norms is not automatically identical with psychopathological creations: “We are of the opinion that the effect of art is the same in all cases, and that it is also not an art of The mentally ill gives like an art for the stomach sick or the knee sick. "

In 1951 Dubuffet dissolved the association and moved the collection to East Hampton in the USA, where the artist Alfonso Ossorio looked after it. She returned to Paris in 1962 and was exhibited in the Musée des Arts décoratifs in 1967 .

In the following years the number of works grew considerably. In 1975 he donated his collection, which has now grown to 15,000 objects, to the city of Lausanne , where it has been exhibited in a public museum, the Collection de l'art brut , since 1976 . Michel Thévoz was the founding director and the museum is now managed by Lucienne Peiry.

Art brut and science

For a long time, the scientific work with Art brut was limited to individual psychiatrists, which also determined the questions and narrowed the focus on images of people with a mental illness or intellectual disability. On the basis of psychiatric diagnostics, specific features of images of schizophrenics were regularly searched for. The fact that the same features can also be found in modern art has led to some well-known artists being pathologized. It was only after the Second World War that voices were raised that clearly denied their existence. For example, Leo Navratil wrote: “Some authors are of the opinion that the designs of schizophrenics differ from the works of healthy artists in certain content-related and formal features. However, this difference is mainly due to the schizophrenic's lack of practice, training and talent. The assumption that the schizophrenic work, because of its abstrusiveness and incomprehensibility, stands in opposition to that of the healthy artist is incorrect. "

In the post-war period, psychiatrists dealt with the question of the therapeutic value of the artistic creation of mentally ill people, which they mostly answered in the affirmative. Helmut Renner saw drawing as a means “to go beyond the usual occupational therapies to achieve a mastery of the unspeakable, to encourage the resonance of emotional strings and thus to counteract a premature defect. Ultimately, every artistic production frees you from inner distress. ”Navratil summed this up with the catchy formula:“ Art is a preliminary stage in dealing with reality. ”

For a long time, art history gave psychiatry the power to interpret what it saw as a completely marginalized species. It was not until the 1960s, when the art business turned to the sculptures of the mentally ill and other outsiders, that art scholars began to deal with and research this area. The examination of Art brut also provided an opportunity to question and expand the current concept of art. The connection between graphic, poetic and - in the case of Adolf Wölfli - even musical work has attracted and continues to meet today. It was possible to show, for example, how the almost eruptive image production in a severely depressed woman was already announced in her earlier written recordings in the form of speech images. Another popular research area is the influence of representatives of Art brut on established artists. Decades after the pioneering work A Mentally Ill as Artist about Adolf Wölfli, written by the psychiatrist Walter Morgenthaler, art historians also began to deal monographically with selected representatives of Art brut. The life stories of the featured Art Brut artists also form the main content of many exhibition catalogs. Other studies deal with the history of reception in different contexts and genres. Various anthologies have also appeared on this. Another important area of ​​investigation is the history of important collections in this field.

In recent times, art historians have increasingly started from questions of cultural and social history, for example Katrin Luchsinger in a broad-based cataloging and research project on images of patients in psychiatric clinics in Switzerland. In it she comes to the conclusion - in contradiction to the common notion of Art brut as an independent, individual expression of art - that images created in psychiatric clinics are shaped “by the place where they were created: the comprehensive, 'total' institution. This includes the material and ideal production conditions in the institution, the resonance space that psychiatrists offered the works, and the stock that has been preserved to this day. The institute regulated production, sales and reception to a large extent. The works were much more closely integrated into the social context in which they were created than those by professional artists. ”The more recent areas of investigation in the Art brut area also include gender relations. The first catalogs of works on selected artists appeared as early as the 1970s.

The turn of art history to art brut initially met with some representatives of this subject, if not with rejection, then at least with unease. In 1961, for example, the respected Swiss art historian and director of the Basel Art Museum Georg Schmidt wrote : “The fact that our time recognized artistic values ​​in the visual expressions of the mentally ill does not make these expressions themselves an artistic expression of our time. The objective 'madnesses' of our time are not uttered by the lay painters in our madhouses, but by our professional artists in their studios, who have to be scolded as crazy for this. ”This initial reluctance of many art scholars towards Art brut resulted in that the contributions in the corresponding exhibition catalogs were often written by psychiatrists, artists or collectors without the corresponding specialist studies until the end of the 20th century.

Brut artists

→ Main article : List of brut artists

literature

• Alfred Bader (ed.): Wunderwelt des Wahns. DuMont Schauberg, Cologne 1961.
• Paolo Bianchi (Ed.): Image and Soul - about Art Brut and Outsider Art (= Art Forum International . Volume 101). Kunstforum International, Cologne 1989.
• Ingried Burgger, Peter Gorsen , Klaus Albrecht Schröder (eds.): Art & Wahn. DuMont, Cologne 1997, ISBN 3-7701-4273-X .
• Roger Cardinal, Victor Musgrave: Outsiders - An Art Exhibition without Precedent or Tradition. Catalog Hayward Gallery, London 1979, ISBN 0-7287-0190-1 .
• Turhan Demirel: Outsider Imagery. Peters Verlag, Titz 2006, ISBN 3-939691-44-5 .
• Claudia Dichter: Outsider Art. Collection Charlotte Zander. Museum Charlotte Zander, Bönningheim 1999, ISBN 3-926318-31-7 .
• Jean Dubuffet: Art brut: advantages over cultural art. (1949). In: Same: Painting in the Trap. Anti-cultural positions. Writings Volume 1. Gachnang & Springer, Bern / Berlin 1991, ISBN 3-906127-24-9 , pp. 86-94.
• Leonhard Emmerling: Jean Dubuffer's art theory. Wunderhorn, Heidelberg 1999, ISBN 3-88423-160-X .
• Michael Krajewski: Jean Dubuffet. Studies of his early work and the prehistory of Art brut. Der Andere Verlag, Osnabrück 2004, ISBN 3-89959-168-2 .
• Katrin Luchsinger: The curve of forgetting. Works from psychiatric clinics in Switzerland around 1900. A cultural analysis study. Zurich 2016, ISBN 978-3-0340-1305-5 .
• John Maizels: Raw Creation - outsider art and beyond. Phaidon, London 1996, ISBN 0-7148-3149-2 .
• Jean Hubert Martin (Ed.): In the intoxication of art. Dubuffet & Art Brut. Exhibition catalog Museum Kunst Palast, Düsseldorf. 5Continents, Milan 2005, ISBN 88-7439-227-3 .
• Walter Morgenthaler : A mentally ill artist. Work on applied psychiatry, Volume 1, Bern / Leipzig 1921.
• Leo Navratil: Art brut and psychiatry Gugging 1946–1986. Volume I and II. Verlag Christian Brandstätter, Vienna 1999, ISBN 3-85447-716-3 , ISBN 3-85447-720-1 .
• Lucienne Peiry: L'Art Brut. The dreams of unreason. Glaux, Jena 1999, ISBN 3-931743-28-4 . (unchanged reprint as: Art Brut. Jean Dubuffet and the art of outsiders. Flammarion, Paris 2005, ISBN 2-08-021029-7 )
• Lucienne Peiry (Ed.): Collection de l'Art Brut, Lausanne. Skira Flammarion, Paris 2012, ISBN 978-2-08-125323-0 .
• Gerd Presler : L'Art Brut. Art between genius and madness. (= dumont pocket books. 111). Cologne 1981, ISBN 3-7701-1307-1 .
• Hans Prinzhorn : Bildnerei the mentally ill. A contribution to the psychology and psychopathology of design. Berlin 1923 (2nd edition), online  - Internet Archive
• Rudolf Suter: From the madhouse to the jet set. To change the perception of outsider art. In: Stefan Hess (Ed.): Rut Bischler. “Every picture I have painted is true”. Scheidegger & Spiess, Zurich 2018, ISBN 978-3-85881-596-5 , pp. 10-25.
• Michel Thévoz: Art Brut. Art beyond art. AT Verlag, Aarau 1990, ISBN 3-85502-386-7 .
• Martina Weinhart, Max Hollein (Ed.): Weltenwandler. The art of the outsider. Hatje Cantz, Ostfildern 2010, ISBN 978-3-7757-2686-3 . (German English)
• Daniel Wojcik: Outsider Art. Visionary Worlds and Trauma, Jackson: University Press of Mississippi, 2016.

Web links

Commons : Art Brut  - collection of images, videos and audio files

• Collection de l'art brut, Lausanne. Retrieved December 20, 2013 . 
• Swiss Psychiatry Museum, Bern. Retrieved April 22, 2017 . 
• Prinzhorn Collection Heidelberg. Retrieved December 20, 2013 . 
• outsider art in berlin
• Museum im Lagerhaus and Foundation for Swiss Naive Art and Art Brut, St. Gallen
• EUWARD - European art prize for painting and graphics by artists with intellectual disabilities

Individual evidence

1. ↑ Outsider Art , outsider-bildwelten, Z.3f.
2. ^ Herbert Read (Ed.): Dumont's Artist Lexicon . Updated by Nikos Stangos. Dumont, Cologne 1991, p. 149; Entry type brut . In: Ralf Schnell (Hrsg.): Metzler Lexikon Kultur der Gegenwart . Metzler, Stuttgart / Weimar 2000, p. 35. - In contrast, Andreas Wagner: Jean Dubuffet. The expériences musicales. Tendencies in the treatment of materials in artistic and musical work, Saarbrücken: Pfau, 2006 (Diss. Saarbrücken 2001), ISBN 978-3-89727-334-4 , p. 13: “Dubuffer's art was wrongly interpreted as Art Brut towards the end of the 1940s . ”Some authors differentiate between Art brut and the work of Dubuffet. Cf. for example Roman Kurzmeyer (Ed.): Heinrich Anton Müller 1869–1930, Catalog of Machines, Drawings and Writings, Basel, Frankfurt a. M .: Stroemfeld / Roter Stern, 1994, p. 187.
3. ↑ See conceptual explanations at www.museumimlagerhaus.ch .
4. ↑ Quoted from Gerd Presler: L'Art brut. Art between genius and madness, Cologne 1981, p. 165.
5. ^ Fritz Billeter : Art and Society. An essay, Oberhausen: Athena-Verlag , 2007, p. 136.
6. ^ Daniel Baumann: Art Brut? Outsider Art? Figure of thought and assertion, in: Kunstbulletin. No. 3, 2001; Daniel Wojcik: Outsider Art. Visionary Worlds and Trauma, Jackson: University Press of Mississippi, 2016, p. 22.
7. ↑ Martina Weinhart: "I am on the moon like others are on their balcony". The art of the outsider as the demarcation line of modernity. In: Martina Weinhart, Max Hollein (Ed.): Weltenwandler. The Art of Outsiders / World Transformers. The Art of the Outsiders. Ostfildern 2010, pp. 15–23, here p. 15f.
8. ^ Wieland Herzfelde: The 1914 action ; quoted from Paolo Bianchi (ed.): Bild und Seele - about Art Brut and Outsider Art (= Kunstforum International. Volume 101), Cologne 1989, p. 74.
9. ↑ Richard Arwed Pfeifer: The mentally ill and his work. A Study of Schizophrenic Art. Leipzig 1923, p. 144.
10. ↑ Markus Landert: Outsider art - alive as never before - comments on a phenomenon, in: Weltensammler. International outsider art of the present. Korine and Max E. Ammann Collection, Warth / Bern 2011, pp. 32–43, here p. 43.
11. ↑ See: Thomas Röske , Bettina Brand-Claussen, Gerhard Dammann (eds.): Collecting madness. Outsider Art from the Dammann Collection = Collecting madness: outsider art from the Dammann Collection, [Vol. 1], Heidelberg: Prinzhorn Collection 2006.
12. ↑ A drawing by Adolf Wölfli was traded on June 30, 2017 at the Swiss auction house Koller for 216,500 Swiss francs ( auction result ).
13. ↑ Raw Vision .
14. ↑ See Daniel Wojcik: Outsider Art. Visionary Worlds and Trauma, Jackson: University Press of Mississippi, 2016, p. 3f.
15. ^ Louis Soutter , exhibition at the Aargauer Kunsthaus June 25 to Aug 6, 1961, Aarau 1961.
16. ↑ Rudolf Suter: From the madhouse to the jet set. To change the perception of outsider art. In: Stefan Hess (Ed.): Rut Bischler. “Every picture I have painted is true”. Scheidegger & Spiess, Zurich 2018, ISBN 978-3-85881-596-5 , pp. 10–25, here p. 24.
17. ↑ Cf. Oskar Panizza : Pour Gambetta. All drawings stored in the Prinzhorn Collection of the Psychiatric University Clinic in Heidelberg and in the National Church Archive in Nuremberg. Edited by Armin Abmeier. Edition Belleville, Munich 1989, ISBN 3-923646-30-5 ; Bettina Brand-Claussen: The "Museum for Pathological Art" in Heidelberg. From the beginning until 1945, in: Wahnsinnige Schönheit, Prinzhorn-Sammlung. Exhibition catalog Osnabrück, Kulturhistorisches Museum u. a., Heidelberg 1997, pp. 6-23; Katrin Luchsinger et al. (Ed.): Works from Psychiatric Clinics in Switzerland 1850–1920, Zurich 2008.
18. ^ Françoise Monnin, L'Art brut, tableaux choisis, Paris, Scala, 1997, pp. 114f. ISBN 978-2-86656-166-6 .
19. ^ Paul Klee: Diaries 1898-1918, ed. and introduced by Felix Klee, Cologne: DuMont, 1957, p. 276.
20. ↑ Marc Wigan: Visual Thinking. from English by MCS SChabert GmbH, with the assistance of Karola Koller (translation). Stiebner Verlag, Munich, ISBN 978-3-8307-1337-1 .
21. ↑ See also Irene Jakab: Drawings and paintings of the mentally ill. Her psychiatric and artistic analysis, Budapest: Hungarian Academy of Sciences Publishing House, 1956.
22. ↑ An early example: Fritz Mohr: On drawings by the mentally ill and their diagnostic usability, in: Journal für Psychologie und Neurologie, Vol. 8, 1906, pp. 99–140.
23. ↑ Cf. Willi Rosenberg: Modern Art and Schizophrenia with special consideration of Paul Klee, typewritten dissertation, Jena 1922; here after Jörg Katerdahl: “Schizophrenics”. On the problem of establishing relationships between psyche and art in the first third of the 20th century, Hildesheim: Georg Olms Verlag, 2005.
24. ^ Leo Navratil: Schizophrenia and Art. A contribution to the psychology of design, Munich 1965, p. 135.
25. ↑ Helmut Rennert: The characteristics of schizophrenic sculpture, 2nd expanded edition, Jena: Gustav Fischer Verlag, 1966, p. 11.
26. ^ Leo Navratil: Schizophrenia and Art. A contribution to the psychology of design, Munich 1965, p. 136.
27. ^ Elka Spoerri: Wölfli, Adolf. In: Sikart (status: 1998, updated 2012) .
28. ↑ Adolf Wölfli - writer, poet, draftsman, composer , with contributions by Daniel Baumann, Marie-Françoise Chanfrault-Duchet, Josef Helfenstein , Louis A. Sass, Elka Spoerri, Harald Szeemann, Max Wechsler and Allen S. Weiss, ed. Adolf Wölfli Foundation. Wiese-Verlag, Basel / Kunstmuseum Bern, Bern 1996, ISBN 3-909164-52-8 .
29. ↑ Stefan Hess: The visualization of the unspeakable. Approaches to Rut Bischler's world of images, in: ders. (Ed.): Rut Bischler. “Every picture I have painted is true”. Scheidegger & Spiess, Zurich 2018, pp. 26–49.
30. ↑ Herwig Guratzsch (ed.): Expressionism and madness, edited by Thomas Röske. Exhibition catalog Schleswig, Gottorf Castle, Munich / Berlin / London / New York 2003; Thomas Röske and Ingrid von Beyme (eds.): Surrealism and Wahnsinn, exhibition catalog, German / English, Heidelberg 2009; Ingrid von Beyme and Thomas Röske (eds.): Unseeing and Unheard I. Artists react to the Prinzhorn Collection, Heidelberg 2013; Ingrid von Beyme and Thomas Röske (eds.): Unseeing and Unheard II. Artists react to the Prinzhorn Collection, Heidelberg 2014.
31. ↑ Cf. Bettina Brand-Claussen: The "Museum for Pathological Art" in Heidelberg. From the beginning until 1945. In: Wahnsinnige Schönheit, Prinzhorn-Sammlung. Exhibition catalog Osnabrück, Kulturhistorisches Museum u. a., Heidelberg 1997, pp. 6-23; L'art brut de Jean Dubuffet, aux origines de la collection / Jean Dubuffet's art brut - the origins of the collection, Lausanne: Collection de l'art brut / Paris: Flammarion, 2016.
32. ↑ Katrin Luchsinger: The forgetting curve. Works from psychiatric clinics in Switzerland around 1900. A cultural analysis study, Zurich 2016, p. 473.
33. ↑ Bettina Brand-Claussen, Viola Michely (Ed.): Irre is feminine. Artistic interventions by women in psychiatry around 1900. Exhibition catalog Prinzhorn Collection, Heidelberg 2004, 2nd edition 2009.
34. ↑ Cf. Michel Thévoz: Louis Soutter. Catalog de l'oeuvre, Lausanne: L'Age d'Homme; Zurich: Swiss Institute for Art History, 1976.
35. ↑ Georg Schmidt: What does the art of the mentally ill have to do with art ?, in: Alfred Bader (Ed.): Wunderwelt des Wahns, Cologne 1961, pp. 13–19, here p. 19.