Art Brut

Augustin Lesage

In his artistic statement of intent, the prose poem What I Believe by J.G Ballard, Ballard lists some of the things he believes in, which notably include a number of Surrealist artists and ‘The Facteur Cheval, the Watts Tower…and all the invisible artists within the psychiatric institutions of the planet.’  Ballard also writes in his annotations to The Atrocity Exhibition that the dedication for the book should have been, ‘To the Insane, I owe them everything.’  

It was a feature of Modern Art to seek inspiration outside of the recognised Western Canon. The Cubists expressed admiration for African sculpture and incorporated elements within their art. Members of The Der Blaue Reiter (The Blue Rider) Group, including Wassily Kandinsky, Paul Klee, Franz Marc and Auguste Macke were interested in the art produced by the mentally ill and children alike. However it was with the publication of Dr Hans Prinzhorn’s study Bildnerei der Geisteskranken (Artistry of the Mentally Ill) in 1921 that really captured the avant garde imagination and was to influence the nascent Surrealist movement. One of the artists featured was Adolf Wolfli, whose work with its obsessive detailing, elaborate fantasy worlds and horror vacui encapsulates Art Brut (raw art) as the French artist and collector Jean Dubuffet later termed art produced by the mentally ill.

In 1948 Dubuffet, along with Andre Breton, The Pope of Surrealism, formed the Compaigne de l’Art Brut. He collected thousand of works which forms the Collection de l’Art Brut, located in Lausanne, Switzerland.

Below are examples of Art Brut artists work. Art Brut is also referred to as Outsider Art, Folk Art, Naive Art and Visionary Art, all terms that are problematic for various reasons. Several for the artists are mediumistic artists who were never diagnosed with mental illness. Formally trained artists who were later institutionalised such as Van Gogh and Richard Dadd (A Fevered Mind’s Master Stroke) are by and large excluded.

Adolf Wolfli

A violent psychotic who experienced intense hallucinations, the Swiss artist Wolfli spent the majority of his life in prison or the Waldau Clinic, a psychiatric hospital in Bern. He started drawing at the age of 40 and in the remaining 26 years produced a vast body of work, including a semi-autobiographical epic with fantasy elements that stretched to 25,000 pages and 1,600 illustrations, which often feature his own idiosyncratic invented musical notation.

Adolf Wolfli

Adolf Wolfli

Augustin Lesage

A coal miner by profession, Augustin Lesage spent his life in Lille, France. He was 35 when he heard a voice tell him he was going to be a painter. After further communications with the spirit, whom Lesage believed to be his little sister who had died at the age of three, he received detailed instructions as what materials to buy and what to paint. He developed a uniquely detailed and symmetrical style incorporating motifs from Egyptian and Indian art.

Augustin Lesage

Augustin Lesage

Madge Gill

In 1919 the English artist Madge Gill gave birth to a stillborn baby girl and almost died herself. She was left bedridden for several months and blind in one eye. Upon recovering the 38 year old Gill developed a sudden and intense  interest in drawing and over the next forty years produced thousands of works in various media, mainly black and white ink drawings signed by her guiding spirit, ‘Myrninerest” (my inner rest)’. Female figures in intricate dress proliferate among the geometric designs.

Madge Gill

Madge Gill

Martin Ramirez

Martin Ramirez left Mexico in 1925 to find work in America. In 1931 he was attested for vagrancy which led to Ramirez being diagnosed as a catatonic schizophrenic. He would spend the rest of his life in Californian psychiatric institutions. His work frequently feature trains and repeated arches.

Martin Ramirez

Martin Ramirez

Painting It Black

Saturn Devouring His Son-Francisco Goya 1819-1823

The most famous and the most horrific of the disturbing series of paintings that Goya painted directly onto the walls of his house outside Madrid in his later years, the so-called ‘Black Paintings’. The paintings were probably never intended for public view, it was only after his death that they were hacked off and transferred to canvas.

Intensely, hermetically private, the Black Paintings show Goya unmuzzling his fertile, macabre imagination. Traditionally believed to refer to the Greek myth of Cronus (Romanized as Saturn), the titan that devours each of his children in turn. Goya’s visceral masterpiece shockingly highlights the cannibalistic frenzy and wild-eyed derangement of the Father of the Gods as he holds the torso of the half-consumed body towards his gaping mouth. Whereas the Italian humanists of the Renaissance had, in their re-interpretation of Classical mythology, concentrated on cavorting nymphs in sunlit Arcadian landscapes, Goya instead  presents us with the vision of the primeval truths contained in myths; that of our darkest impulses unleashed in the blackest of nights. Goya is indeed the first of the moderns.