In the early 1820s, in the gloomy aftermath of the 1789 Revolution
and the Napoleonic wars, the French Romantic painter Theodore
Gericault (1791-1824) made five portraits of patients in an asylum
or clinic. No depictions of madness before or since can compare
with them for humanity, straightforwardness and immediacy. Why were
they painted? For whom? Art-historical ways of accounting for them
open up questions about the nature of psychoanalytic
interpretation. The portraits challenge us to find responses in
ourselves to the face and the embodied mysteries of the other
person, and to our own internal (unsconscious, disavowed)
otherness: in this sense, Gericault was a "painter-analyst". The
challenge could not be more urgent, in our world of suspicion of
the stranger, and of the medicalisation of madness. The book
sketches the history of this last process, from the Enlightenment
through to the Revolution and its public health policies, to the
birth of the asylum in its interface with the penal system.
General
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