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Journal articles on the topic 'Paul Gauguin'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Sweetman, David. "Paul Gauguin: A Life." Journal of Aesthetics and Art Criticism 56, no. 3 (1998): 322. http://dx.doi.org/10.2307/432383.

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2

Koepsell, Thomas D. "Paul Gauguin (1848-1903)." Archives of Pediatrics & Adolescent Medicine 158, no. 4 (April 1, 2004): 306. http://dx.doi.org/10.1001/archpedi.158.4.306.

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3

Buckley, Peter J. "Paul Gauguin, 1848–1903." American Journal of Psychiatry 173, no. 2 (February 2016): 115–16. http://dx.doi.org/10.1176/appi.ajp.2015.15091166.

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4

Iswahyudi. "Paul Gauguin and the Quest for World Spirituality." Britain International of Linguistics Arts and Education (BIoLAE) Journal 3, no. 1 (April 24, 2021): 108–20. http://dx.doi.org/10.33258/biolae.v3i1.428.

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Paul Gauguin was born in Paris, France on June 7, 1848. The dynamics of his life journey greatly motivated his search for something deeper and more meaningful in his life and work. Gauguin's disillusionment with the bourgeois society in his environment and his desire to create his art works encouraged his decision to devote himself totally as an artist, especially outside his environment. He traveled from one region to another outside Europe. This experience will influence his development as a painter. The trips that Gauguin often undertook were influenced by his work as well as seeking broader and deeper experiences. As a European he sought a "primitive" lifestyle that was neither tangible nor considered "exotic". He is looking for geographic answers to his professional and personal searches while living in Tahiti. By examining his personal life, it is known that Gauguin's wandering led him to a deeper spiritual life, which is reflected in his works and writings. In order to understand the expression of spirituality in his work, we will examine several major works by Gauguin that clearly depict images of Buddhism and other Eastern religions.
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5

Montijano Cañellas, Marc. "Gauguin, Paul: Escritos de un salvaje." Boletín de Arte, no. 21 (July 3, 2019): 561–62. http://dx.doi.org/10.24310/bolarte.2000.v0i21.6571.

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Gauguin personaje mítico, la leyenda de un espíritu seguro de ser grande, un hombre incomprendido que se sabía gran artista. Mil historias se cuentan sobre este salvaje, todas ellas falsas, todas ellas verdaderas. Siempre con hambre, en la miseria, sin ganas de pintar, con la muerte acechando, y sin embargo, siempre gozando, viviendo en la hermosura de un lugar idílico repleto de olores, colores y sabores intensos.
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6

Collins, Emily B. "The Brooding Woman by Paul Gauguin." Archives of Facial Plastic Surgery 13, no. 4 (July 1, 2011): 292. http://dx.doi.org/10.1001/archfacial.2011.49.

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7

Salcman, Michael. "Upaupa Schneklud, by Paul Gauguin (1848–1903)." Neurosurgery 49, no. 6 (December 1, 2001): 1477–78. http://dx.doi.org/10.1097/00006123-200112000-00038.

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8

Pollack, Maika. "Odilon Redon, Paul Gauguin, and Primitivist Color." Art Bulletin 102, no. 3 (July 2, 2020): 77–103. http://dx.doi.org/10.1080/00043079.2020.1711488.

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9

Gagnon, Claude. "Éloge machiste de la putain dans la peinture Ève bretonne de Paul Gauguin." Anthropologie et Sociétés 10, no. 3 (September 10, 2003): 107–22. http://dx.doi.org/10.7202/006367ar.

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Résumé Éloge machiste de la putain dans la peinture Eve bretonne de Paul Gauguin Cet article s'arrête à la représentation du rapport femme-homme dans la production picturale des artistes symbolistes de la fin du XIXe siècle en Europe, et plus spécifiquement dans la peinture Eve bretonne (1889) de Paul Gauguin. Les peintres symbolistes ont représenté le féminin selon les trois champs sémantiques de la Vierge, de la Mère et/ou de la Putain. L'analyse portera surtout sur celui de la Putain dans le tableau de Gauguin. L'article procède au déchiffrement sémantique des signes iconiques de ces œuvres par l'analyse du contexte de production, et fait ressurgir le politique qui sous-tend cette représentation hiérarchique des sexes où le féminin est totalement réifié et où le masculin règne en Martre de cet objet.
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10

Vargas Pacheco, Cristina, and Naïl Muniglia. "“Viajar hacia lo diverso con Paul Gauguin y Flora Tristán”: una experiencia de mediación cultural y circulación artística en el norte peruano (2018-2019)." Illapa Mana Tukukuq, no. 17 (December 25, 2020): 162–75. http://dx.doi.org/10.31381/illapa.v0i17.3480.

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En 2018, el Ministerio de Cultura del Perú lanzó una convocatoria nacional bajo el nombre de Estímulos Económicos de la Cultura, buscando motivar la generación de propuestas en diferentes ámbitos de las artes plásticas, musicales y escénicas. Uno de los proyectos que se vio favorecido fue “Viajar hacia lo diverso con Paul Gauguin y Flora Tristán: proyecto para la dinamización, circulación y mediación de la creación artística en la región norte”, impulsado desde la Alianza Francesa de Piura. En el presente artículo se narra esta experiencia, que tuvo como eje de concepción y acción, la mediación cultural y, particularmente, artística, partiendo del recuento teórico de su surgimiento en un contexto de democratización cultural. Palabras clave: mediación cultural, Paul Gauguin, Flora Tristán, Alianza Francesa de Piura, norte peruano, estímulos económicos de la cultura. AbstractIn 2018 the Peruvian Ministry of Culture launched the Estímulos Económicos de la Cultura, an open national call intended to receive and support project ideas in the fields of music, scenic and visual arts. One of the beneficiaries of the grant has been the project “Travelling towards the diversity with Paul Gauguin and Flora Tristán: project to foster the dynamization, circulation, and mediation of artistic creation in the northern region of Peru”, promoted by the Alliance Française of Piura. The present article aims to explain the whole experience process whose core of conception and action is the cultural and artistic mediation, departing from the theoretical paradigm of its emergence in a context of cultural democratization.Keywords: cultural mediation, Paul Gauguin, Flora Tristán, North of Peru, state economic support, Alliance Française of Piura.
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11

Knapp, James F. "Primitivism and Empire: John Synge and Paul Gauguin." Comparative Literature 41, no. 1 (1989): 53. http://dx.doi.org/10.2307/1770679.

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12

Enniss, Stephen. "Sherwood Anderson and Paul Gauguin: A Forgotten Review." Studies in American Fiction 18, no. 1 (1990): 118–21. http://dx.doi.org/10.1353/saf.1990.0001.

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13

Bounoure, Gilles. "Le paradis autour de Paul Gauguin de Viviane Fayaud." Journal de la société des océanistes, no. 134 (June 30, 2012): 160–63. http://dx.doi.org/10.4000/jso.6679.

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14

Nicole, Robert. "Le paradis autour de Paul Gauguin. By Viviane Fayaud." Journal of Pacific History 47, no. 2 (June 2012): 238–39. http://dx.doi.org/10.1080/00223344.2012.670090.

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15

Bulver, Kathryn M. "Le vertige danois de Paul Gauguin by Bertrand Leclair." French Review 88, no. 3 (2015): 260–61. http://dx.doi.org/10.1353/tfr.2015.0404.

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16

Cieutat, Michel. "La “caméra-pinceau” d’Alain Resnais : Van Gogh, Guernica, Paul Gauguin." Ligeia N° 77-80, no. 2 (2007): 244. http://dx.doi.org/10.3917/lige.077.0244.

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17

Mathews, Timothy. "Savage Tales: The Writings of Paul Gauguin. By Linda Goddard." French Studies 74, no. 4 (October 1, 2020): 636. http://dx.doi.org/10.1093/fs/knaa195.

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18

Pingeot, Anne. "Paul Gauguin (Paris, 1848–Atuona, 1903): Inventor of the Readymade?" Getty Research Journal 13 (January 1, 2021): 157–76. http://dx.doi.org/10.1086/713434.

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19

Hobbs, Richard. "Paul Gauguin and Charles Morice, Noa Noa; with Paul Gauguin, Manuscrit tiré du ‘Livre des métiers’ de Vehbi-Zumbul Zadi. Edited by Claire Moran." French Studies 72, no. 3 (June 19, 2018): 450–51. http://dx.doi.org/10.1093/fs/kny132.

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20

Screech, Matthew. "Gauguin and Van Gogh Meet the Ninth Art." European Comic Art 13, no. 1 (March 1, 2020): 21–44. http://dx.doi.org/10.3167/eca.2020.130103.

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This article analyses how a late twentieth-century/early twenty-first-century development in bandes dessinées, which combines historical novels with biographies, expresses paradoxical attitudes towards mythologies surrounding Paul Gauguin and Vincent Van Gogh. Firstly, I demonstrate that the paradox stems from a simultaneous desire for and suspicion of master narratives, identified as intrinsic to postmodernism by Linda Hutcheon. Then I establish how eight graphic novels perpetuate pre-existing mythological master narratives about Gauguin and Van Gogh. Nevertheless, those mythologies simultaneously arouse scepticism: myths do not express exemplary universal truths; myths are artificial and fictionalised constructs whose status in reality is dubious. The albums convey tension between desire and suspicion regarding myths by a variety of devices. These include sequenced panels, circular plots, unreliable witnesses, fictional insertions, parodies and mock realism.
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21

Powers, E. D. "From Eternity To Here: Paul Gauguin and The Word Made Flesh." Oxford Art Journal 25, no. 2 (January 1, 2002): 87–106. http://dx.doi.org/10.1093/oxartj/25.2.87.

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22

Mančić, Aleksandra. "Paul Gauguin i Victor Segalen: estetyka odmienności pomiędzy literaturą a malarstwem." Porównania 19 (June 15, 2016): 41–57. http://dx.doi.org/10.14746/p.2016.19.10268.

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Nowoczesna refleksja dotycząca inności wiedzie przez różnorodne kultury (transkulturalnie), sztuki oraz dyscypliny (transdyscyplinarnie) i podejmuje zagadnienia, które w niniejszym artykule ujęte zostały w ramy problematyki podróży i przekładu (translacji), od twórczości malarza Paula Gauguina do dzieł pisarza Victora Segalena i ich artystycznych poszukiwań oraz przemyśleń na temat egzotyzmu i sztuki prymitywnej, będących odpowiedzią na niwelowanie różnic w wyniku praktyk kolonizacyjnych.
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23

Lefevre, Tate. "Le paradis autour de Paul Gauguin by Viviane Fayaud (review)." Contemporary Pacific 25, no. 1 (2013): 203–5. http://dx.doi.org/10.1353/cp.2013.0002.

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24

Stevenson, Lesley, and Belinda Thomson. "VISION OF THE SERMONBY PAUL GAUGUIN: AN EXPLORATION OF MAKING AND MEANING." Studies in Conservation 51, no. 3 (January 2006): 34–40. http://dx.doi.org/10.1179/sic.2006.51.3.34.

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25

Potter, Polyxeni. "Paul Gauguin (1848–1903). I Raro te Oviri (Under the Pandanus) (1891)." Emerging Infectious Diseases 10, no. 4 (April 2004): 766–67. http://dx.doi.org/10.3201/eid1004.ac1004.

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26

Treagus, Mandy, and Madeleine Seys. "Looking Back at Samoa: History, Memory, and the Figure of Mourning in Yuki Kihara’s Where Do We Come From? What Are We? Where Are We Going?" Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (March 14, 2017): 86–109. http://dx.doi.org/10.1163/23523085-00302005.

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Samoan Japanese artist Yuki Kihara’s photographic series Where Do We Come From? What Are We? Where Are We Going? (2013) focuses on sites of current and historical significance in Samoa. In taking on the title of French artist Paul Gauguin’s 1897 work, Kihara signals her desire to engage with the history of representation of the Pacific in Western art through dialogue with Gauguin and the history of colonial photography. Casting herself as a version of Thomas Andrew’s Samoan Half Caste (1886), a figure in Victorian mourning dress, she directs the viewer’s gaze and invites all to share her acts of mourning at these sites. The literal meaning of the title also indicates how the series engages with history via the Samoan concept of vā, collapsing time in space, to produce an understanding of both the country’s present and the potential future such history invites.
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27

GAL, NISSIM. "‘The Fall of God into Meaning’: Painting Time in Jacob Wrestling with the Angel." Theatre Research International 34, no. 2 (July 2009): 187–93. http://dx.doi.org/10.1017/s0307883309004544.

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The future as an event cannot be analysed solely through its simple relation to the known or recognized world, but through its unexpected dimensions: its being beyond history and the way it performs commandments and ethical obligations. Two visual interpretations of the biblical story of Jacob Wrestling with the Angel, by Eugène Delacroix and Paul Gauguin, are at the centre of my discussion. The main theoretical tool for discussing the issues of time and the future is the philosophical writing of Emmanuel Levinas.
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28

Fayaud, Viviane. "Dess(e)ins oubliés : Charles Giraud, prédécesseur de Paul Gauguin à Tahiti (1843-1847)." Outre-mers 97, no. 368 (2010): 311–32. http://dx.doi.org/10.3406/outre.2010.4509.

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29

Chorba, Terence, and John Jereb. "Confusion in the Genesis of Art and Disease: Charles Laval, Paul Gauguin, and Tuberculosis." Emerging Infectious Diseases 26, no. 3 (March 2020): 634–35. http://dx.doi.org/10.3201/eid2603.ac2603.

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30

Caranfa, Angelo. "Socrates, Augustine, and Paul Gauguin on the Reciprocity between Speech and Silence in Education." Journal of Philosophy of Education 47, no. 4 (October 10, 2013): 577–604. http://dx.doi.org/10.1111/1467-9752.12042.

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31

Goddard, Linda. "The Symbolism of Paul Gauguin: Erotica, Exotica, and the Great Dilemmas of Humanity (review)." Modernism/modernity 15, no. 1 (2008): 189–91. http://dx.doi.org/10.1353/mod.2008.0003.

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32

Hajj, Ralph. "Savage Strategies: Parisian Avant-garde and 'Savage' Brittany in the Definition of Paul Gauguin." Third Text 16, no. 2 (June 2002): 167–81. http://dx.doi.org/10.1080/09528820210138317.

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33

Ziemendorff, Stefan. "Redescubrimiento del sitio arqueológico de la momia que inspiró a Gauguin y Munch." Investigaciones Sociales 22, no. 40 (April 1, 2019): 73–83. http://dx.doi.org/10.15381/is.v22i40.15887.

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En artículos anteriores se mostró la gran influencia de una momia chachapoya en el arte moderno, específicamente sobre las obras de Paul Gauguin y de Edvard Munch, así por ejemplo en su famoso cuadro El Grito y, inspiradas en éstos, de forma directa o indirecta, en muchísimas obras de arte a nivel mundial desde hace ya más de un siglo. Por la importancia de la momia en esta parte de la historia del arte, es de sumo interés recopilar datos acerca de su procedencia e historia, en específico sobre el lugar y las circunstancias bajo las cuales fue hallada y llegó a París. Además, la momia es identificada como la de un guerrero de la cultura chachapoya.
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34

Staszak, Jean-François. "L'exote, l'oviri, l'exilé : les singulières identités géographiques de Paul Gauguin // The exote, the oviri and the exiled : Gauguin's singular geographical identitites." Annales de Géographie 113, no. 638 (2004): 363–84. http://dx.doi.org/10.3406/geo.2004.21629.

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35

Atkin, Will. "Oceanic metamorphoses: Easter Island, Paul Gauguin and “magic art” through the eyes of the surrealists." Journal of Postcolonial Writing 54, no. 5 (September 3, 2018): 670–89. http://dx.doi.org/10.1080/17449855.2018.1526473.

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36

Russell, Oneika. "Constructing Paradise in the Western Imagination:." Cultural and Pedagogical Inquiry 11, no. 3 (January 6, 2020): 117–33. http://dx.doi.org/10.18733/cpi29508.

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Enhanced with a few of my original paintings, this essay explores various notions of a tropical paradise in the Western imagination. Secondly, it traces some of the implications for the respective people and country. The work draws on my personal experiences, research and study in several Western arts institutions as well as in former, European colonies in the tropics. At the discussion’s centre, are experiences and pursuits of Paul Gauguin, a noted seeker of paradise? The essay further explores how colonial perceptions and perspectives have influenced and continue to impact the socio-economic and cultural production of ‘tourism products’ in small island developing states (SIDS), such as Jamaica and some other countries in the Caribbean.
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37

Parkinson, Gavin. "Magic art, folklore, and rural tales in Le Pouldu: André Breton, Paul Gauguin, and Charles Filiger." Word & Image 34, no. 2 (April 3, 2018): 75–87. http://dx.doi.org/10.1080/02666286.2017.1350919.

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38

WALKER, JOHN A. "THE SYMBOLISM OF PAUL GAUGUIN: EROTICA, EXOTICA, AND THE GREAT DILEMMAS OF HUMANITY BY HENRI DORRA." Art Book 15, no. 2 (May 2008): 50–51. http://dx.doi.org/10.1111/j.1467-8357.2008.00953.x.

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39

Cany, B. "Paul Gauguin, Philosopher and Musician of color (Translated from French by: Alexander Tchikine)." Russian Journal of Philosophical Sciences, no. 9 (December 20, 2018): 129–44. http://dx.doi.org/10.30727/0235-1188-2018-9-129-144.

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At the heart of the dialog between the art piece and the world, the artist works at communicating his sensations. For Gauguin, this work involves a self-claimed philosophical bent, as he considers his paintings as the result of a philosophical refoundation of color. His idea is that the artist’s sensations don’t stem from his contact with the empirical world but rather with the metaphysical one. This is due to the fact that the painter competes with nature: his imitation is inventive (no matching with the original) and his truth is creative (true to his subjective perception). An artist-philosopher, who is also a thinking subject, thus reasserts the pragmatic necessity of the perception. Being diverse, the color is an instrument by which the artist expresses his thinking (he reveals his metaphysical sensations and offers them to the receptor). There is an arrangement that reveals the inner musical harmony of things and beings – by which the painter thinks out from words, within the symphony of pure colors.
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40

Malmon, Isabelle. "Détail folklorique ou motif primordial de l’imaginaire ? Enquête sur une figure entêtante dans l’œuvre de Paul Gauguin." Revue de littérature comparée 367, no. 3 (2018): 327. http://dx.doi.org/10.3917/rlc.367.0327.

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41

Viselli, Antonio. "L’écorégionalisme et le ‘sauvage’: De la figure du māhū à ‘L’après-midi d’un faune’ de Paul Gauguin." Dix-Neuf 23, no. 3-4 (October 2, 2019): 265–76. http://dx.doi.org/10.1080/14787318.2019.1683968.

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42

Giuffre, Katherine. "Half the Right People: Network Density and Creativity." Culture Unbound 2, no. 5 (December 17, 2010): 819–46. http://dx.doi.org/10.3384/cu.2000.1525.10243819.

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Social scientists investigating the attributes associated with creativity have for the most part confined their research to the study only of creative people. This research attempts to compare creativity with non-creativity by comparing creative with non-creative periods in the lives of three famously isolated creators (Emily Dickinson, Paul Gauguin, and Charlotte Brontë) to argue that the social networks of the individuals are different during creative periods than during non-creative periods. By using the correspondence of each of the artists to construct social networks, it is possible to analyze the artist’s relationships with regard to density and betweenness and to compare those across creative and non-creative time periods. The average network density of the first order zone network around each of the artists was 0.475 during periods of creativity. There was no correlation with a particular betweenness score.
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Young, Marnin. "Dario Gamboni. Paul Gauguin: The Mysterious Centre of Thought. Trans. Chris Miller. London: Reaktion Books, 2014. 464 pp." Critical Inquiry 43, no. 2 (January 2017): 595–96. http://dx.doi.org/10.1086/689664.

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Kim, Sunkyu. "Paul Gauguin and the Representation of Cultural Diversity -Focusing on the controversy of exotic taste, racism, and colonialism-." Journal of Multi-Cultural Contents Studies 35 (December 31, 2020): 71–102. http://dx.doi.org/10.15400/mccs.2020.12.35.71.

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45

Williams-Hogan, Jane. "Influence of Emanuel Swedenborg’s Religious Writings on Three Visual Artists." Nova Religio 19, no. 4 (May 1, 2016): 119–44. http://dx.doi.org/10.1525/nr.2016.19.4.119.

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Emanuel Swedenborg (1688–1772) claimed to be an eyewitness to the Apocalypse. Called to be “Servant of the Lord,” he wrote eighteen works in which he defined a new Christianity. While he never formed a church, he distributed his books widely throughout Europe. They stimulated some people to found new religious organizations, some to write in new poetic and literary forms, and others to revolutionize sculpture and painting. These artists found in Swedenborg’s works a vibrant source of a new aesthetic vision. The elements of Swedenborg’s theology that helped to shape that new aesthetic are presented here, as well as the application of different aspects of it in the works of three artists: the English sculptor John Flaxman (1755–1826); the French Symbolist painter Paul Gauguin (1848–1903); and American sculptor Lee Bontecou (b. 1931). Each artist attempts to capture the spiritual reality that Swedenborg portrayed as existing behind and within the natural phenomenal world.
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46

Vanegas, Carlos. "Paul Gauguin y Mario Vargas Llosa, entre el arte y la literatura.Manao Tupapau-El espíritu del muerto la recuerda, 1892." POLIANTEA 11, no. 21 (April 28, 2016): 227. http://dx.doi.org/10.15765/plnt.v11i21.710.

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<p class="CuerpoA">Entre el arte y la literatura se han generado múltiples reflexiones que han sido estudiadas por la historia del arte, la teoría literaria y la estética, entre otros. Igualmente, podemos considerar una larga tradición de artistas y escritores que se han empeñado, por medio de ensayos, críticas y manifiestos, en considerar los ámbitos y lugares de competencia de cada forma artística, así como sus lugares de similitud y diferencia en una larga tradición de préstamos interartísticos entre la palabra y la imagen. En el seno de esta discusión, se quiere analizar el diálogo disciplinar entre la literatura y el arte que se da en torno a la figura del pintor post impresionista Paul Gauguin y el escritor Mario Vargas Llosa. Para ello, reflexionamos a partir de una de las obras fundamentales del pintor francés, que tiene su correspondencia y complementariedad en la obra literaria del escritor peruano. De esta manera, se presenta una revisión de una fuente literaria que propone no solo una alusión temática a la obra del pintor, sino que se enmarca bajo coordenadas estéticas, que superan los armazones de las teorías o historias meramente literarias.</p>
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47

Danguy, Laurence. "Sur le chapeau de La lutte de Jacob avec l'ange d'Eugène Delacroix à Paul Gauguin : sens et postérité d'un détail." A contrario 20, no. 1 (2014): 35. http://dx.doi.org/10.3917/aco.141.0035.

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48

Poggi, Alfredo Ignacio. "Hacia una teoría literaria post-secular: repensando la crítica liberal de la religión a través de Flora Tristán, Paul Gauguin y Vargas Llosa en "El paraíso en la otra esquina"." Pasavento. Revista de Estudios Hispánicos 8, no. 1 (March 1, 2020): 75–94. http://dx.doi.org/10.37536/preh.2020.8.1.686.

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Este artículo postula que la crítica a la religión es la temática central de la novela El paraíso en la otra esquina, brindando una alternativa al desafío crítico de encontrar un factor unificador de las dos historias de la obra, tanto de Flora Tristán como de Paul Gauguin. Utilizando el concepto post-secular de Jürgen Habermas, las tres hipótesis de la secularización de José Casanova, la crítica a una visión esencialista de la religión de Talal Asad y los tres estadios del desarrollo secular de Charles Taylor, este análisis tiene el objetivo de cuestionar la oposición binaria entre lo secular y lo religioso que permea la obra de Vargas Llosa. A través de una revisión de la narrativa de la secularización, eurocentrista y moderna, presente en la novela, se intenta puntualizar la vaguedad de la definición de lo religioso, la porosidad del cuadro inmanente creado por el autor, y la resistencia del lector a una oposición binaria transhistórica que sugiere potencialidades humanas naturales, las cuales se realizan al liberarse de la religión
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49

Martínez Silvente, María Jesús. "Rosario Camacho y el arte contemporáneo: episodios." Boletín de Arte, no. 34 (November 18, 2017): 387–88. http://dx.doi.org/10.24310/bolarte.2013.v0i34.3549.

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La primera vez que me encontré a Rosario Camacho en una inauguración de arte contemporáneo fue cuando estudiaba cuarto de carrera. Recuerdo que me extrañó verla. –¿Esta no es la profesora de Barroco? –le pregunté a Antonia Amor, mi compañera de banca. – Sí, tía, es Charo –afirmó con las cejas arrugadas en señal de asombro. Se trataba de la exposición de Xul Solar en la sala de exposiciones del Palacio Episcopal, allá por el año 98. Yo todavía no era consciente de la multiplicidad de caras que formaban el prisma de la Camacho, interesada tanto en las manifestaciones pasadas como en las presentes, en la arquitectura como en la escultura, en la pintura como en las artes decorativas. Las grandes figuras de la historia del arte contemporáneo –Pablo Picasso, Paul Gauguin, etc.– fueron analizadas por la profesora Camacho, demostrando que el estudio del arte es acumulativo, que no hay que elegir entre un período u otro, que puede llegarte con la misma intensidad una obra de Caravaggio y una de Pollock, que una iglesia románica puede resultarte tan bella como un puente de Calatrava… y que no pasa nada.
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Estilaee, F., and A. Ghaffari Nejad. "The Reflection of Lilliputian Hallucinations in Paintings of a Schizophrenic Patient." European Psychiatry 26, S2 (March 2011): 1379. http://dx.doi.org/10.1016/s0924-9338(11)73084-x.

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Since several years ago the relation between art and mental disorders has been interesting for psychiatrists. This relation has more importance when understanding famous painters such as Van Gogh, Paul Gauguin and Louis Wain have had such disorders.Psychotic patients may project their symptoms into their drawings and use paintings as a way to illustrate their special feelings and thoughts. Without them understanding patient’s world and their symptoms is impossible.When hallucinations are too amazing to believe and more persecutor than any pain, and when thoughts are so dispersed which other cannot understand and nevertheless, there is no treatment for these boring symptoms, art and specially painting may be a way to relief them.Lilliputian hallucination is a rare symptom in psychotic patients; a visual type hallucination that things and persons appears smaller than the real size. Patients usually describe them as the persecutor dwarfs or life from another world.Here we introduce a schizophrenic patient with Lilliputian hallucination who created famous paintings. In these paintings, patient was drawn dwarfs in nearly one inch. They are creatures between man and mouse, sometimes whisper and occasionally walk on his head or body.
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