By Steven Stack
Creative paintings itself has been considered a life-saving habit for a few suicidal artists. inventive depictions of suicide may also have a contagion impression, inflicting suicides between contributors of the real-world viewers. guidance are nonetheless wanted for associations comparable to the movie for minimizing attainable copycat results of suicides in function movies and different inventive screens of suicide. maybe probably the most very important purposes for learning suicide paintings is for insights into the causes for suicide. Artists portrayed many factors for suicide lengthy ahead of the increase of the technology of suicidology within the twentieth Century. reasons together with social elements comparable to demise of a family member, honour, financial pressure, and betrayal in love have roots in lots of ancient inventive items. Sophocles' performs, relationship from 2,500 years in the past, comprise numerous causes which are nonetheless came across this present day. The heritage of suicide in paintings, specifically if movie is integrated, might be topic to continuities in addition to adjustments within the factors for suicide. whereas the visible arts could have drifted clear of yes reasons of suicide, reminiscent of heroism, those factors may very well survive in different paintings varieties together with movie and opera. the current quantity stresses a holistic method of the learn of suicide in artwork. styles in a single paintings venue will be either comparable and diversified to these in different venues. therefore, warning should be exercised in making generalizations at the foundation of 1 or a number of modalities of creative creations.
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Additional resources for Suicide and the Creative Arts (Psychology Research Progress Series)
Example text
Margaret Moyes, a 23-year-old middle-class woman, attractive and possibly educated, jumped from London’s Monument on September 11, 1838 leaving behind a suicide note saying “You need not expect to see me again, for I have made up my mind to make away with – Margaret Moyes” (Gates, 1988, p. 40). Her suicide, an open statement of despair committed in a public place, did not fit the suicide stereotype of a “befitting-end-of-a-fallen-woman,” and it was rendered sensational and newsworthy by broadsides and newspapers.
It was represented in the arts accordingly. A classic example of such suicide narrative is Augustus Egg’s triptych Past and Present (1858) consisting of a series of paintings showing the dire consequences of marital infidelity (Edelstein, 1983). The triptych shows a moment when a husband discovers his wife’s love affair, an image of the homeless wife with a child huddled under the bridge possibly contemplating suicide, and a scene when two daughters from the unfortunate marriage learn about their father’s death.
In popular imagination, befitting the moral double standards of the era, suicide was a means for regaining female chastity and a retribution for adultery, sometimes encompassing murder-suicide of a mother and her child (Anderson, 1987; Brown, 2001). It was represented in the arts accordingly. A classic example of such suicide narrative is Augustus Egg’s triptych Past and Present (1858) consisting of a series of paintings showing the dire consequences of marital infidelity (Edelstein, 1983). The triptych shows a moment when a husband discovers his wife’s love affair, an image of the homeless wife with a child huddled under the bridge possibly contemplating suicide, and a scene when two daughters from the unfortunate marriage learn about their father’s death.