From Hogarth to Nosferatu. The Iconographic History of the Madman’s Wall Motif

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11210%2F23%3A10470283" target="_blank" >RIV/00216208:11210/23:10470283 - isvavai.cz</a>

Výsledek na webu

<a href="https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=plKlh7_Oil" target="_blank" >https://verso.is.cuni.cz/pub/verso.fpl?fname=obd_publikace_handle&handle=plKlh7_Oil</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1086/726050" target="_blank" >10.1086/726050</a>

Jazyk výsledku

angličtina

Název v původním jazyce

From Hogarth to Nosferatu. The Iconographic History of the Madman’s Wall Motif

Popis výsledku v původním jazyce

The film Nosferatu (1922) has graffiti created by the character of the madman Knock on the walls of his cell. This motif, which I call the &apos;madman&apos;s wall&apos;, has accompanied depictions of lunatics since the beginning of the eighteenth century. This article examines the origin, transformations and functions of this motif. The popularisation of the motif originates with the longitude diagram in the last plate of A Rake&apos;s Progress (1735) by William Hogarth, which subsequently found its way into the works of Hogarth&apos;s plagiarists and influenced illustrations of asylum interiors in the first half of the nineteenth century. The madman&apos;s wall also appears in literature, such as the popular novel The Father and Daughter (1801) by Amelia Opie, which was plagiarised and dramatised, and the legend of the poet Charles Smart, who allegedly wrote his poem on the walls of his cell. The main prerequisite for the madman&apos;s wall is the dungeon-like image of the asylum-presenting it as a prison. It is usually the author of the graffiti who displays the signs of madness, not the wall itself. As society distanced itself from the image of the asylum as a dungeon, the madman&apos;s wall disappeared after the 1850s. Paradoxically, many reports about the authentic wall art of asylum patients emerged in the press after the 1850s. The madman&apos;s wall in Nosferatu is the first example after an approximately seventy-year absence and could be a product of the period interest of avant-garde artists in the art of the mentally ill.

Název v anglickém jazyce

From Hogarth to Nosferatu. The Iconographic History of the Madman’s Wall Motif

Popis výsledku anglicky

The film Nosferatu (1922) has graffiti created by the character of the madman Knock on the walls of his cell. This motif, which I call the &apos;madman&apos;s wall&apos;, has accompanied depictions of lunatics since the beginning of the eighteenth century. This article examines the origin, transformations and functions of this motif. The popularisation of the motif originates with the longitude diagram in the last plate of A Rake&apos;s Progress (1735) by William Hogarth, which subsequently found its way into the works of Hogarth&apos;s plagiarists and influenced illustrations of asylum interiors in the first half of the nineteenth century. The madman&apos;s wall also appears in literature, such as the popular novel The Father and Daughter (1801) by Amelia Opie, which was plagiarised and dramatised, and the legend of the poet Charles Smart, who allegedly wrote his poem on the walls of his cell. The main prerequisite for the madman&apos;s wall is the dungeon-like image of the asylum-presenting it as a prison. It is usually the author of the graffiti who displays the signs of madness, not the wall itself. As society distanced itself from the image of the asylum as a dungeon, the madman&apos;s wall disappeared after the 1850s. Paradoxically, many reports about the authentic wall art of asylum patients emerged in the press after the 1850s. The madman&apos;s wall in Nosferatu is the first example after an approximately seventy-year absence and could be a product of the period interest of avant-garde artists in the art of the mentally ill.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

—

Návaznosti

S - Specificky vyzkum na vysokych skolach

Rok uplatnění

2023

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Journal of the Warburg and Courtauld Institutes

ISSN

0075-4390

e-ISSN

2044-0014

Svazek periodika

86

Číslo periodika v rámci svazku

November

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

53

Strana od-do

nestránkováno

Kód UT WoS článku

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EID výsledku v databázi Scopus

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