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The Neurobiology of Painting : Edited by F. Clifford Rose International REVIEW OF Neurobiology Volume 74 International REVIEW OF Neurobiology Volume 74 SERIES EDITORS RONALD J. BRADLEY Department of Psychiatry, College of Medicine The University of Tennessee Health Science Center Memphis, Tennessee, USA R. ADRON HARRIS Waggoner Center for Alcohol and Drug Addiction Research The University of Texas at Austin Austin, Texas, USA PETER JENNER Division of Pharmacology and Therapeutics GKT School of Biomedical Sciences King’s College, London, UK EDITORIAL BOARD ERIC AAMODT HUDA AKIL PHILIPPE ASCHER MATTHEW J. DURING DONARD DWYER DAVID FINK MARTIN GIURFA MICHAEL F. GLABUS PAUL GREENGARD BARRY HALLIWELL NOBU HATTORI JON KAAS DARCY KELLEY LEAH KRUBITZER BEAU LOTTO KEVIN MCNAUGHT MICAELA MORELLI JOSE´ A. OBESO JUDITH PRATT CATHY J. PRICE EVAN SNYDER SOLOMON H. SNYDER JOHN WADDINGTON STEPHEN G. WAXMAN The Neurobiology of Painting EDITED BY F. CLIFFORD ROSE Founding Director, Academic Unit of Neuroscience Charing Cross & Westminster (now Imperial College) Medical School Late Physician-in-Charge Department of Neurology Charing Cross Hospital London UK AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Academic Press is an imprint of Elsevier Academic Press is an imprint of Elsevier 525 B Street, Suite 1900, San Diego, California 92101-4495, USA 84 Theobald’s Road, London WC1X 8RR, UK This book is printed on acid-free paper. Copyright ß 2006, Elsevier Inc. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the Publisher. The appearance of the code at the bottom of the first page of a chapter in this book indicates the Publisher’s consent that copies of the chapter may be made for personal or internal use of specific clients. This consent is given on the condition, however, that the copier pay the stated per copy fee through the Copyright Clearance Center, Inc. (www.copyright.com), for copying beyond that permitted by Sections 107 or 108 of the U.S. Copyright Law. This consent does not extend to other kinds of copying, such as copying for general distribution, for advertising or promotional purposes, for creating new collective works, or for resale. Copy fees for pre-2006 chapters are as shown on the title pages. If no fee code appears on the title page, the copy fee is the same as for current chapters. 0074-7742/2006 $35.00 Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (þ44) 1865 843830, fax: (þ44) 1865 853333, E-mail: [email protected]. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting ‘‘Support & Contact’’ then ‘‘Copyright and Permission’’ and then ‘‘Obtaining Permissions.’’ For information on all Academic Press publications visit our Web site at www.books.elsevier.com ISBN-13: 978-0-12-366875-2 ISBN-10: 0-12-366875-1 PRINTED IN THE UNITED STATES OF AMERICA 06070809987654321 CONTENTS Contributors......................................................................... xiii Preface ................................................................................... xv Evolutionary Neurobiology and Art C. U. M. Smith I. Introduction .................................................................... 1 II. Definitions ...................................................................... 2 III. Play............................................................................... 3 IV. ‘‘Shock of the New’’........................................................... 4 V. Neurophysiology ............................................................... 4 VI. Landscape....................................................................... 6 VII. Mate Selection.................................................................. 8 VIII. Parts and Wholes............................................................... 10 IX. Imagination ..................................................................... 12 References ...................................................................... 13 SECTION I VISUAL ASPECTS Perceptual Portraits Nicholas Wade I. Introduction .................................................................... 17 II. Medical Societies in London................................................. 19 III. Anatomists of the Brain....................................................... 21 IV. Microscopists.................................................................... 24 V. Functions of the Brain ........................................................ 28 VI. Dysfunctions of Behavior ..................................................... 33 VII. Conclusions ..................................................................... 36 References ...................................................................... 36 v vi CONTENTS The Neuropsychology of Visual Art: Conferring Capacity Anjan Chatterjee I. Introduction..................................................................... 39 II. Disposition to Produce Art.................................................... 40 III. Visual Vocabulary............................................................... 41 IV. Descriptive Accuracy ........................................................... 42 V. Enhanced Expressivity ......................................................... 44 VI. Conclusions ..................................................................... 46 References ....................................................................... 47 Vision, Illusions, and Reality Christopher Kennard I. Introduction..................................................................... 51 II. Functional Specialization in the Visual Brain.............................. 52 III. Face and Object Recognition................................................. 53 IV. Recommended Reading ....................................................... 54 Localization in the Visual Brain George K. York I. Introduction..................................................................... 55 II. A Note on Localization........................................................ 56 III. The Painter at the Bedside ................................................... 58 IV. The Neurologist in the Picture Gallery ..................................... 60 V. Commentary: The Three Cultures........................................... 62 References ....................................................................... 64 SECTION II EPISODIC DISORDERS Neurology, Synaesthesia, and Painting Amy Ione I. Introduction..................................................................... 69 II. Case of the Color-Blind Artist ................................................ 71 III. Normals and Synaesthesia..................................................... 72 IV. Metaphor and Synaesthesia ................................................... 75 References ....................................................................... 77 CONTENTS vii Fainting in Classical Art Philip Smith I. Introduction .................................................................... 79 II. Blackouts in Paintings......................................................... 80 III. Crucifixion Fainting ........................................................... 80 IV. Historical Fainting ............................................................. 81 V. Genre Fainting ................................................................. 83 VI. Swooning ........................................................................ 84 VII. Men Fainting ................................................................... 85 VIII. Conclusions ..................................................................... 87 References ...................................................................... 87 Migraine Art in the Internet: A Study of 450 Contemporary Artists Klaus Podoll I. Introduction .................................................................... 89 II. Methods ......................................................................... 90 III. Results ........................................................................... 91 IV. Discussion ....................................................................... 104 References ...................................................................... 106 Sarah Raphael’s Migraine with Aura as Inspiration for the Foray of Her Work into Abstraction Klaus Podoll and Debbie Ayles I. Introduction .................................................................... 109 II. Art Critics’ Notions on Sarah Raphael’s Migraine with Aura ........... 110 III. History of Illness ............................................................... 110 IV. Impact of Sarah Raphael’s Migraine with Aura on Her Art............. 113 V. Conclusions ..................................................................... 116 References ...................................................................... 117 The Visual Art of Contemporary Artists with Epilepsy Steven C. Schachter I. Introduction .................................................................... 119 II. Background to the Collection ............................................... 120 III. Artistic Themes in the Works of Contemporary Artists with Epilepsy.................................................................... 120 IV. Conclusions ....................................................................
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