The December 2015 issue of The Psychologist, the British Psychological Society‘s flagship magazine, is now online. This month’s “Looking Back” column, written by Gail Hornstein, explores artistic depictions of madness, among them Agnes’ jacket (pictured above). As Hornstein notes,
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Since at least the 13th century, artists have been fascinated by insanity. There are literally hundreds of images, most stylised and stereotypic, of ‘madness’ and ‘the madman’ (or woman). When asylums spread across 19th-century Europe, providing a captive population of mad people, artists began to use actual patients as models for their drawings and paintings. These images are often less extreme than earlier portraits, but their typically grotesque emotionality is just as dehumanising.
Patients are treated as specimens, devoid of any context, like tumour cells in a pathology manual. Even in the works of progressive physicians like Pinel or Esquirol, madness is depicted as brutality or as generalised deterioration. Esquirol’s particular interest in pathological types influenced the thinking of generations of psychiatrists and reduced the patient’s whole life to one main symptom (e.g. mania). Of course, today we take this idea far more literally than Esquirol did in the 1830s – current images of madness don’t even show the person, just their hypothesised brain defect.