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Schlaganfallfolgen bei dem Maler Lovis Corinth
Abstract
Lovis Corinth erlitt in seinem 54. Lebensjahr einen rechtshemisphärischen Schlaganfall, den er um 14 Jahre überlebte. Die immense Zahl seiner Werke nach diesem einschneidenden Lebensereignis lässt eine ausführliche Analyse und einen Vergleich zum Werk vor Dezember 1911 zu. Mit den Augen des Neurologen erschließt sich dabei eine erstaunliche Vielfalt von teilweise subtilen Auswirkungen des Schlaganfalls, die eindeutig über rein psychologische Prozesse hinausgehen und im Wesentlichen mit einem linksseitigen Neglect zu erklären sind. Corinth ist darüber hinaus aber auch ein motivierendes Beispiel für Patienten, indem er nach seinem Schlaganfall großartige Kunst produzierte. Lovis Corinth kämpfte dabei weniger gegen seine motorische Behinderung, die sein Wirken nicht relevant beeinträchtigte als viel eher mit seinem neuropsychologischen Defizit, welches deutliche Auswirkungen für seine künstlerische Produktion hatte. Corinth hinterließ der Nachwelt sein Credo ,,Die wahre Kunst ist Unwirklichkeit üben“. Für dieses Zitat, wie auch für den von ihm oft zitierten Ausspruch ,,Zeichnen heißt weglassen“, ergibt sich eine schlüssige Interpretationsmöglichkeit, die sich aus dem Verständnis der rechtshemisphärischen Läsion mit der Folge des linksseitigen Neglects ableitet.
... Private Collection). C. Self-portrait paintings by William Utermohlen painted at age 60 (top left) to 65 (bottom right) while living with Alzheimer's disease (from [50]; artworks number 9-14, Table A [15]). F. Self-portrait with Bandaged Ear, 1889, by Vincent van Gogh, argued to potentially display effects from psychotic episode and/or temporal lobe dysfunction/epilepsy, which may also account for the "carefully arranged, brilliant colors" [214]. ...
... Once again, most authors did not directly report changes in quality or creativity, although Boller et al. [27] did suggest that their case artist had "less inventive" artworks, which nonetheless remained at the same level of excellence. In most cases, authors suggested that the post-stroke art became more abstract [15,16] and, perhaps most saliently, reflected hemisphere neglect or lack of coherence between different elements. Bäzner and Hennerici ( [15]; see also the images in Fig. 1, C above) suggest that their artist showed neglect and indistinctness, loose contours, error of details in general and in familiar faces, asymmetry, and error in perspective. ...
... In most cases, authors suggested that the post-stroke art became more abstract [15,16] and, perhaps most saliently, reflected hemisphere neglect or lack of coherence between different elements. Bäzner and Hennerici ( [15]; see also the images in Fig. 1, C above) suggest that their artist showed neglect and indistinctness, loose contours, error of details in general and in familiar faces, asymmetry, and error in perspective. Similarly, Bäzner and Hennerici [16] suggested that two of their artists (no. ...
The past three decades have seen multiple reports of patients with neurodegenerative disorders, or other forms of putative changes in their brains, who also show changes in how they approach and produce visual art. Authors argue that these cases may provide a unique body of evidence, so-called ‘artistic signatures’ of neurodegenerative diseases that might be used to understand disorders, provide diagnosis, be employed in treatment, create patterns of testable hypotheses for causative study, and also provide unique insight into the neurobiological linkages between mind, brain, body and the human penchant for art-making and creativity itself. However—before we can begin to meaningfully build from such emerging findings, much less formulate applications—not only is such evidence currently quite disparate and in need of systematic review, almost all case reports and artwork ratings are entirely subjective, based on authors' personal observations or a sparse collection of methods that may not best fit underlying research aims. This leads to the very real question of whether we might actually find patterns of systematic change if fit to a rigorous review—Can we really ‘read’ art to illuminate possible changes in the brain? And how might we best approach this topic in future neuroscientific, clinical, and art-related research? This paper presents a review of this field and these questions. We consider the current case reports for seven main disorders—Alzheimer's and Parkinson's disease, Frontotemporal and Lewy body dementia, Corticobasal degeneration, aphasia, as well as stroke—consolidating arguments for factors and changes related to art-making, and critiquing past methods. Taking the published artworks from these papers, we then conduct our own assessment, employing computerized and human-rater based approaches, which we argue represent best practice to identify stylistic or creativity/quality changes. We suggest, indeed, some evidence for systematic patterns in art-making for specific disorders and also that case authors showed rather surprisingly high agreement with our own assessment. More importantly, through this paper, we hope to open a discussion and provide a theoretical and empirical foundation for future application and systematic research on the intersection of art-making and the neurotypical, the changed, and the artistic brain.
„Zeichnen heißt auslassen“, lautete ein Grundsatz des Impressionisten Lovis Corinth. Er steht für die Konzentration auf das Wesentliche. Was aber, wenn das Wesentliche nicht mehr wahrgenommen wird?
The characteristics of styles vary continuously and resist a systematic classification into perfectly distinct groups. It is meaningless to ask exactly when ancient art ends and medieval begins. There are of course, abrupt breaks and reactions in an, but study shows that here too, there is often anticipation blending and continuity. Precise limits are sometimes fixed by convention for simplicity in dealing with historical problems or in isolating a type.... Through careful description and comparison and through formation of a richer, more refined typology adapted to the continuities in development, it has been possible to reduce the areas of vagueness and to advance our knowledge of styles.
A stroke may befall anyone because brain lesions caused by cerebrovascular diseases are common and can result in a devastating disability. Improvements in modern neurophysiological, neurosonological, and continuously developing neuroimaging technology have led to precise lesion localization, giving a better understanding of pathophysiological mechanisms leading to stroke. This chapter describes a series of 25 visual arts professionals and illustrates the large variability of the consequences of stroke for their artistic creation. This series of painters had a mean age of 63 at stroke onset and survived their first stroke for more than 8 years. Stroke influences paintings of a vast majority of artists to a significant degree. Whereas in some cases the (repeated) strokes ended artistic careers the majority reported resumed artistic production. Four of the artists suffering a left hemisphere stroke had to switch from their prestroke dominant right hand to the left hand that was possible without a notable change in style. Visuospatial neglect is far more common in the right hemisphere stroke than in left hemisphere damage. Finally, as evidenced in the cases of Tommy McHugh and Jon Sarkin, stroke damage has apparently the potential to unmask artistic potential.
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Ich habe einen Lovis, keinen Vater
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