A new book tells the story of the Prinzhorn collection. It was established by a young doctor who began to reconsider work by patients that was previously used purely for clinical observation
The Prinzhorn collection at the University of Heidelberg’s psychiatric clinic was established after the first world war by Hans Prinzhorn, a young doctor who also held ain art history and was a professionally trained baritone; later he would translate D.H. Lawrence’s fiction and become a champion of Navajo rights. He began to reconsider work by patients that had previously been used purely for clinical observation.
The work embodied psychotic realities and relayed messages from isolation, explains Mr English. Prinzhorn’s achievement was to declare that it was art, and to liberate it “from the psychiatric clinics and nursing institutions where it had been made, and release it into the wider world”. He was remarkably well-connected in cultural circles and his collection was enthusiastically received by a contemporary art scene itself traumatised by the recent war.
The rise of Nazism made this renown, and the association with mental illness, fatally dangerous. Hitler’s antipathy to modern art had long been fused with ideas of racial purity, “degeneracy” and judgments as to what—and who—deserved to exist.
Mr English is a fluent storyteller and patiently exhumes the lives of artists such as Franz Karl Bühler, a metal-worker who had represented Germany at the Chicago World’s Fair in 1893, later producing paintings that were compared to the work of Matthias Grünewald and Albrecht Dürer .
In his last days in his bunker, Hitler retreated from the cataclysm around him into artistic delusions of remodelling his hometown of Linz into a great cultural centre. His creative ambitions once again came to nothing. Yet the work of these artists, much of which miraculously survived the war, lives on as testament to the variety of human experience, and of ways to communicate what it feels like to be alive.
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