PubMed · 15344293
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Stefan C Schatzki. 2004. Pasteur in his laboratory.. https://doi.org/10.2214/ajr.183.3.1830676
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The 1914 etching of Freud by Max Pollak differs from other portraits, firstly in that it shows him abstracted from the world and, secondly, because his antiquities are prominently featured. Links may be conjectured between his mood and such events of the time as the dispute with Jung and the Zurich group. Identification of the antiquities yields associations with aspects of Freud's working methods. An art work presents a different level of evidence from a photograph since intentionality plays a stronger role in it than structure. Consequently it throws more light on emotion than fact. The atmosphere of the etching prompts some reflections on representation and the uncanny. This article continues to argue the implicit case behind the author's preceding photograph studies: that iconography may provide a basis for writing history that can accomodate self-criticism and uncertainties.
The year 1843 saw the publication in Dresden of a comprehensive account of the magnetic treatment of a somnambulist. This date came relatively late in the history of animal magnetism in Germany, and coincided with the decline of the theory in medical circles. Perhaps it was for this reason that the authors commissioned Ludwig Richter, one of the most accomplished engravers of the day, to produce a plate of illustrations which were intended to act as a symbolic defence of the theory. They are examined in this article.
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