Focal cerebral lesions and painting abilities

Mazzucchi, A; Sinforiani, Elena; Boller, François

doi:10.1016/b978-0-444-63287-6.00004-x

Cited by 14 publications

(28 citation statements)

References 8 publications

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“…Approximately 50 or so cases with unilateral brain damage (largely in one side of the brain, and where the etiology is commonly stroke or tumor) have by now been described in the neurological literature (Rose, 2004; Bogousslavsky and Boller, 2005; Zaidel, 2005, 2013a,c; Finger et al, 2013; Mazzucchi et al, 2013; Piechowski-Jozwiak and Bogousslavsky, 2013). …”

Section: Neurological Underpinning: I Observations Of Brain-damage Imentioning

confidence: 99%

Creativity, brain, and art: biological and neurological considerations

Zaidel

2014

Front. Hum. Neurosci.

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Creativity is commonly thought of as a positive advance for society that transcends the status quo knowledge. Humans display an inordinate capacity for it in a broad range of activities, with art being only one. Most work on creativity’s neural substrates measures general creativity, and that is done with laboratory tasks, whereas specific creativity in art is gleaned from acquired brain damage, largely in observing established visual artists, and some in visual de novo artists (became artists after the damage). The verb “to create” has been erroneously equated with creativity; creativity, in the classic sense, does not appear to be enhanced following brain damage, regardless of etiology. The turning to communication through art in lieu of language deficits reflects a biological survival strategy. Creativity in art, and in other domains, is most likely dependent on intact and healthy knowledge and semantic conceptual systems, which are represented in several pathways in the cortex. It is adversely affected when these systems are dysfunctional, for congenital reasons (savant autism) or because of acquired brain damage (stroke, dementia, Parkinson’s), whereas inherent artistic talent and skill appear less affected. Clues to the neural substrates of general creativity and specific art creativity can be gleaned from considering that art is produced spontaneously mainly by humans, that there are unique neuroanatomical and neurofunctional organizations in the human brain, and that there are biological antecedents of innovation in animals.

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Section: Neurological Underpinning: I Observations Of Brain-damage Imentioning

confidence: 99%

Creativity, brain, and art: biological and neurological considerations

Zaidel

2014

Front. Hum. Neurosci.

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“…This question can be best answered by Italian neurologist Anna Mazzucchi whose research group studied various famous artists' pre-and post-stroke works and drew From expressionless to impressionist conclusions based on the laterality of the insult. 19 This paper will outline four of her famous case studies.…”

Section: Artistic Style and Localized Brain Insultmentioning

confidence: 99%

“…After the insult, his work became much more simplistic and impressionist with a strong decrease in perspective mastery. 19 Afro Basaldella, an Italian artist, is another example of a painter whose art became remarkably simplified after not just one, but two left-hemisphere strokes. His use of colour, previously realistic, became "opaque and simplified. "…”

Section: Artistic Style and Localized Brain Insultmentioning

confidence: 99%

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From expressionless to impressionist: Exploring the link between neurological disease and artistic style in painters

Konder¹

2019

DMJ

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This paper discusses the relationship between various types of neurological disease and stylistic changes in painters. By first outlining the hypothesized neuroanatomical bases of creativity, the discussion then relates localized brain damage to various stylistic changes in painters and previously non-artists. It also explores artistic style in the context of more global neurological damage, such as dementias and neurotransmitter imbalances.The literature suggests that focal neurological insults (such as strokes or head injuries) may more often lead to focal deficits in painters, such as the loss of visuospatial ability or partial hemineglect. More widespread neurological damage may be associated with more global stylistic changes; for example, dopamine replacement therapy for Parkinson’s disease has been shown to produce a more impressionist painting style in numerous recorded artists. In several case studies, brain damage actually led to the emergence of de novo artistic ability.While these changes in artistic style may not be rigidly predictable based on the limited literature available, this paper demonstrates that both artists and non-artists may experience significant changes in artistic style after neurological disease. Patient narratives also suggest that painting may serve as an empowering personal coping and communication strategy, aiding patients in navigating their complex illnesses.

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“…We asked ourselves if the painters post lesional productions could be considered expression of unimpaired inventiveness and skill, or rather the expression of definite adjustments due to decreased of painting ability and creativity. We concluded that a hemispheric lesion significantly affects the painting production in all the investigated painters, who showed manifest modifications in their style [1,2].…”

Section: Introductionmentioning

confidence: 99%

The Influence of Brain Lesion on Musical Masterpieces of Famous Composers

Mazzucchi¹,

Fanticini²,

Mg³

et al. 2017

J Neurol Neurosci

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The changing of musical capabilities, after cerebrovascular or neurodegenerative lesions in neuropsychological literature, are referred, over all, to musicians affected by aphasia. Generally, authors examine the relationship between amusia and aphasia and the potential decays of musical general skills. Particularly uncommon is the investigation of pre-lesional versus post-lesional productions of music composers. The rare descriptions that we find in literature, tend to conclude that the postlesional productions maintain a good creativity level.In the following paper a group of researchersneurologists, musicians and specialists in music composition-are comparing pre-lesional masterpieces of one composer manifesting cerebro-degenerative disease (Maurice Ravel) and four composers suffering cerebrovascular lesion (Benjamin Britten, Alfred Schnittke, Vissarion Shebalin, Franco Donatoni) with their postlesional compositional productions, applying an objective methodology. Their conclusions are that the examined composers employ, in their post-lesional masterpieces, simplified structures, or simple classic models, or reminiscences, influences and citations referred to their previous experience or related to harmonic traditional forms, in a less elaborate structure, frequently fragmented, static and repetitive. The compositional contextual character doesn't change and maintains, in some way, a "poetry", but the application modality becomes more "technical". The Authors suggest that, in order to be objective in her analysis and conclusions, neuro-aesthetic requires the application of well-defined methodologies and scientific procedures.

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Focal cerebral lesions and painting abilities

Cited by 14 publications

References 8 publications

Creativity, brain, and art: biological and neurological considerations

Creativity, brain, and art: biological and neurological considerations

From expressionless to impressionist: Exploring the link between neurological disease and artistic style in painters

The Influence of Brain Lesion on Musical Masterpieces of Famous Composers

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