Adolf Wolfli Draftsman Writer Poet Composer Distribution of Contributors: Daniel Baumann, Adolf W6lfli Foundation Marie-Frangoise Chanfrault-Duchet, Museum of Fine Arts Bern Josef Helfenstein, Markus Ratz, Louis Sass, Elka Spoerri, Edited by Harald Szeemann, Allen Weiss Elka Spoerri and Max Wechsler Cornell University Press Ithaca and London (437Daniel Baumann The Reception of Adolf Walfli’s Work, 1921-1996 Adott W8Ifli and Walter Morgenthaler In 1921 the Bernese psychiatrist Walter Morgenthaler published 1 120-page monograph on Adait Wl, Ein Geisteskranker als Kanstler [A mentally il person as an artist” Morgenthaler worked from 1907 until 1919 in the Waldau Mental Asylum, ‘where Wilf had been hospitalized in 195. The monograph was a result of thirteen years of persistent confrontation with Wolfi's personality and work and pioneered in the field of art anc psy Cchopathology: for the first time a mentally il person was described as an artist and referred to by name and not by the ‘usual initials or number. Ein Geistestranker als Kistler was the frst volume of the series Arbelten zur angewandten Psychiatrie [Studies in applied psy- chiatry], edited by Morgenthaler. Further issues included in 1922 Strindberg und van Gogh, by the psychiatrist-philosopher Kart vaspers, and Hermann Rorachach'’s Psychootagnostik. Jaspers's| study triggered a debate about van Gogh's mental state, which still continues, and Rorschach’s Psychoolagnostik swept the ‘world under the name of the “Rorschach test” and ramains in use today. Rorschach was a physician at Waldau from 1914 til 1916, at the same time as Morgenthaler, and was equally interested in the drawings of mental patients.” Morgenthaler was also familiar with the research being done by Hans Prinzhorn, who in 1919 had been put in charge of organizing and enlarging the collection of psychotic art at the Psychiatric Giinic in Heidelberg, In 1922 Prinzhorn published a book that was to be of considerable his- ‘torical importance: Bikinerei der Geisteskranken (Artistry of the mentally i, the first comprehensive, richly illustrated study of art and psychopathology.’ The book lists Wail as case no. 450 and Includes a color reproduction of a drawing Prinzhorn had received from Morgenthaler. Less than a year alter Bikinarer der Geisteskranken appeared, Max Emst took the book to Paris, where it struck 2 chord, especially among the surrealist. Morgenthaler’s monograph raised particular interest in artistic and intellectual circles. As modem psychiatry was gaining new insights into mental liness and as avant-garde artists were searching for alternatives to traditional art, it was time to reassess the ert of the mentally ill Adolf KBisch, the art editor of the well-reputed Neue Zircher Zeitung, devoted a two-part re~ viewr to the book on Wolf, emphasizing that “the progress of the liinass either liberates forces urging artistic form or endows the subject dealt with, with contents that remained inaccessible to the average normal person.” Intriqued by this review, the Ger- ‘man poet Rainer Marla Rilke bought Morgenthaler’s book and sent it to Lou Andreas-Salomé in Gottingen, together with a long 212 letter that is often quated: “Apparently, the impulse to order, the most relentioss arriong the creative forces, is elicited most force- fully by two kinds of inner states: by feeling of inner superabun- ance and by a person's total inner collapse, which in tum also generates a superabundance... The Wolfli case will help us some day to gain riew insights about the origins of creativity and it also makes contrioutions to the strange, apparently growing realization how many of the symptoms of the iliness (as Morgen- thaler ‘suspects') ought to be supported because they bring to the open the rhythm through which nature is striving to reclaim that which has been alienated from it and to bring [it] into anew melodious congruence.” Andreas-Salome replied: “What must have moved you vehemently ', | imagine, the remarkable fact that the compulsive productive urge of the creative artist clearly reappears in the schizophrenic ... The book | immediately rec- ‘ommended highly to Freud.” Like Klsch, Rilke, and Andreas- Salomé, the Swiss writer Hans Morgenthaler, Walter Morgen- thaler's cousin, also recognized parallels between Wii's work and the work of an artist. In 192, referring to Bin Geisteskranker als Kunstler, he wrote: “I have realized how similar some of the ‘thoughts, impulses, motives of the sick man are to those of & ‘normal artist." “The first collections of Witi's drawings were already being as- sombled during his lifetime. Waiter Morgenthaler, the earliest Walll collector, owned some 115 of his works (102 of them now in the possession of the Adolf Woitt Foundation), Other collac- tots were the psychiatrist Oscar Forel (now in the Collection de TrArt Brut in Lausanne}, an English psychiatrist who worked at \Waldau during the First World War (dispersed in various private collections}, and Julius von Ries, husband of Maria von Ries, who was Wolf's attonding psychiatrist rom 1920 till 1880 (ort vate collection}. In the twenties three private collectors were active: Ernst Mumenthaler, an architect in Basel, and his wife Elisabet Mumenthaler Fischer (107 works, today in the Depart ‘ment of Drawings and Prints of the Musaum of Fine Arts, Basel, catalog); the teacher Hermine Ferndriger Marti (some 46 works, 10 in possession of the Adolf Wali Foundation, the rest Gispersed in private collections). Fritz Baumann, founder of the avant-garde "Neues Leben” group in Basel, which had strong {tes with the dadaists in Zurich, visited Waifl at Waidau in 1922, He bought several drawings and a sketchbook (private collec tion). Another prominent buyer was C. G. Jung, who owned ‘three of Wolf's drawings: Schweiel-Beerg (Sultur-Mountain, 1904), Medizinische Fakuitéat (Medical Faculty, 1905), and Riisen-Giocke Grampo Lina (Giant-Bel! Grampo Lina, 1906). ‘These three drawings belong te the early work (1904-1906) and exhibit the symbolic and archetypal shapes go Important to Jung {property of the Adolf Welt Foundation today). Surprisingly, the ‘drawings were not mentioned by Jung in any of his writings.‘Apart from selling his drawings, WéIti alse received commis- sions trom the Waldau asylum. As early as 1916, Morgenthaler let him do the decoration of two wooden cupboards and two vitrines for the Waldau Museum (see p. 225). The museum had been installed in 1914 on Morcentnalers initiative in two low ceilinged mezzanine rcoms in the New Ciinic. It housed Wolf's ‘drawings and works by patients from other asylums in Switzer- land, as well as medical agparatus and otrer historical objects Used in the care of the insane, The museum could be seen only by appointment and was visited by psychiatrists, a tew mem- bers of the general public, and several artists. At the end of the 1980s the museum was transferred to a renovated eighteenth century building In the Waldau complex, anc! it was opened to the public in 1993. Wot continued to receive commissions from Waldau after Morgenthaler's departure in 1920, among them his largest drawing, Memorandum {1.5 x 3m), made for the audito~ rium of the New Clinic in 7926. From 1816 on, with the intensified production of the Brotkunst (Bread Art) drawings, the demand for Waifl's drawings grew rapidly (see p. 62). This popularity prompted Morgenthaler to Issue four rules in 1918 in regard to the handling of Wolf's work, The rules reflect both Woltl’s mounting success and Morgen thaler’s efforts to secure the survival of the Waldau Collection hile enabling gales to continue: 1. All drawings by Wolfl are to be handed over to the [Waldau) collection unless ether arrangements are made. 2. If someone wants to have a drawing made, he must give \Wai two sheets of paper and enough pencils and colored pen- cils. The two drawings are to be shown to the decor in charge of the collection, who will choose one drawing for the collection and present the other to the person who commissioned it. 3. Recelved drawings can net be passed on to third parties with+ ‘out permission of the [Waldau] Administration, Apart from sup- plying the drawing material, persons outside the asylum must pay a sum, fixed by the Administration, as compensation for Wott, 4, The staff Is responsible for ensuring that no drawing is given away before it's shown to the physician in charge of the collection! Between 1919 and 1921 Wolll had sold or given away some four hundred drawings to doctors, visitors, and employees. In 1921 he documented his selling success in a list itemizing the name of each owner and the title of the work delivered: *Ver- zoichniss, selbst gemachter Portraits-Bilder, welche ich jeh, an Herrn Docktor Morgonthaler im Neu-Bau der Irren-Anstalt Waldau bei Bern, Schweiz Anbgellfert habe. Ski. Adolf Il. Pat- tient, Per Stak zu eh, Fr. 8" [Catalog of self-made portrait pic- tures that | ever handed over to Doctor Morgenthaler in the Neve Ginic of the Waldau Mental Asylum near Bem. St. Adolf Il. Pat= tient. At Fr, § the piece) ‘The open-mindedness of the Waidau medical statt was demon- strated again on another occasion. Adolphe Appia, one of Switzer- land's most important theater dreciors and theoreticians, was a patient at Waldau from 1921 to 1922.° He helped to organize the Christmas pageant in 1921 and cast Woltii as one of the Magi (fig, 182}. The performance wes a complete success, despite-or because of-Woifl's attempt to steel the limelight: "13 Dec. 1921. | was successful in persuading the patient [Wifi] to bring a small oem of his own into a litle play for Christmas; he wrote poetry and had to lear by heart a number of passages from the pay. which he accomplished very wel & performed wall al the rehearsals. However, one poem is a litle too long & a few lines reed censorship, til now he hes left them out, but at Christmas he wants to recite the whole poem. Considers himself the greatest poet, musician & painter.” °27 Dec. 21. The Christmas celebration vient well & the patient cid a good job; at the last rehearsal he ranted to go on strike, insisting on reciting the whole poem, even if t took 2 hrs, But he ultimately let himself be talked out of it. Wall's drawings wore exhibited twice during his lifetime. On the: publication of Ein Geisteskranker als KOnstier, over sixty of his drawings were displayed in the shop window of the bookstore Ernst Bircher Publishers, Bern (fig. 181), The second time was in 1930, as part of an exhibition of children's drawings at the Gewerbemuseum {Museum of Applied Ari} in Winterthur, where Walfi's works were presented as a "Special Exhibition: Drawings: by a Mentally Ill Person." Interestingly, the publication of Morgenthaler’s book coincided with or wes perhaps the catalyst for 2 little-known episode in the political arena, In 1923, sixteen years betore Hitler devised the “euthanasia” program for kiling the mentally il in 1939, the chief’ medical examiner of the city proposed to the Bernese parliament that a legal basis be established for *kiling those who sutter {rom incurable mental Ilness and idiocy.”* Jean Dubuffet and Adolf Wolf After his death in 1980 until the end of World War ll, Wet and his work were mestly forgotten, Interest in his art reemerged only in the mid-1940s within the context of an ongoing interest in the primitive, the exotic, and the Freudian theory of the uncon- scious. In July 1945, the French artist Jean Dubuftet and the [post Jean Paulhan visited Switzertand. Paulhan’s account of their trip contains the following passage about Dubuffet: "He is pursued by the idea of a direct anc untutored art-an art out, he 213LES FOUS NE SONT PAS SI FOUS QU‘ON DIT cae _Arbeiten zur ange wandien Psychiatrie fp loser true Rel Now mon a Seemed ny Shue : iene pete woreurrnsae const nore mente aes NILES SAINS SI SAINS 179 Cover of volume 1 of Arbeiten zur 180 Hortensia Skt, Adotina Angewandien Psychiatie. Walter Back cover of fascleule Morgenthaler, Bin Geisteskranker 1 Cart brut Paris, 7945 als Runstlr (A Mental Pationt as an Arts), 1927 Pret ttteiat) 214181 Emst Brcher's bookstore, Bem, 1927 182 Christmas Ply, Aol WE ‘Moor King. Waigeu Mental‘says-which he thinks to find amang the insane and imprisoned. Ife heard that in some place a bear had begun to paint, he would dash there immediately."® At Waidau and the Miinsingen Mental Asylum, the two psychiatric institutions in the Canton of Bern, as well as in the psychiatric hospital of Géry near Lausanne (Canton Vaud}, Dubuifet saw works by Wolf, Heinrich ‘Anton Mller, and Alcise, He returned to Paris with several of their drawings-works Paulhan acimired for the “simplicity of thelr insistence." Starting with the drawings obtained in Switzerland, Dubuffet began systematically collecting works by the mentally il anc outcasts under the new label he created: Art Brut. Dubuffet wes familiar with Prinzhorn's Biidnerei der Geistaskranken; the Swiss art oritic and writer Paul Budry had given it to him in the early ‘pwenties. In contrast fo Prinzhom, who had wanted to assem- ble es comprehensive a collection as possible, Dubuffet selacted works chiefly aecording to his own aesthetic erteria. In 1945 he decided to publish a series of books on Art Brut, the Fascicules de I’Art Brut, The first volume, Les Barbus Maller et autres piéces do la statuaire provinciale, was published by Gall- ard; the second, a translation of Morgenthaler’s monograph, did not progress beyond the advertising stage at this time (fig. 180). In 1947 René Drouin, a renowned Perisian gallery owner, offered Dubuffet two rooms in the basement of his gallery in place Verdame for hie collection of Art Brut. Coincidentally, that same yar the French writer Andre Malraux published his famous book Psychologie de l'art: Le musée imaginaire in which he asked for an ideal, open museum embracing the works from prehistory to modern times, and from foreign cultures as well as from mentally ill persons." Between 1947 and the autumn of 1948 Dubutfet held several exhibitions of his collection at the gallery of René Drouin and thus introduced it to a wider public, These exhibi- tlons included works by Wolf and Aloise. In 1948 Dubuffet in- cuced Ancré Breton, Jean Paulhan, Charles Ratton, Henri-Pierre oché (author of Jules et wir), and Michel Tapié to join him in establishing the Compagnie de 'Art Brut, At the beginning of September 1948, the comaagnie transferred its collection to a pavilion supplied by the publisher Gaston Gallimard in the rus de "Universite. in October & large one-man show of Wii's work was mounted there, assembling 120 drawings from. Morgenthalor’s collection. According to Dubutfet, the Persian public responded enthusiastically to the show.” In November 1949 Dubutiet opened the large exhibition L/Arr brut proférd aux arts culturels [Art Brut preferred to cultural arts}, for which René Drouin had lent the main ground-floor rooms of 216 his gallery. This programmatic exhibition of two hundred! works by sixty-three artists was accompanied by a generously llustret- ‘ed catalog containing only a single text, Dubuttet’s manifesto art brut prétéré aux arts cutturels. In t Dubuffet contrasted the official standpoint of the arts culturets to the voyance-the clear sightedness-of Art Brut: “[By Art Brut] we understand the work created by people who are untainted by official culture, in other ‘wards, for wham mimesis plays litle oF no part, in contrast to what happans among Intellectuals, allowing thelr creators to ‘raw everything (subject, choice of material, expressive means, rhythms, spellings, etc) frem thelr own inner selves and not from the commanplaces of classical or currently fashionable art." In 1951 Dubutfet disbanced the Compagnie de |'Art Brut. During its three years of existence it numbered approximately sixty members, among them Albert Camus, Paul Eluard, Jean Cocteau, Henri Michaux, Claude Lévi-Strauss, and Tistan Tzara. ‘After the compagnie dissolved the collection was stored in the house of Alfonso Osserio, a painter and friend of Dubulfet's, in East Hampton, Long Island, in the United States, While it was in ‘the United States, the collection received only a single public showing: an exhibition at the Cordier-Warren Gallery in New York in February 1962, which, however, made little impression on the New York audience."” The collection was back in Paris in 1962, inthe rue des Savres, on view by appointment only. In 1963, Dubuttet reestablished the Compagnie de Art Brut, whose col lection by then encompassed two thousend works by two hun- cred artists. Among other things Dubuffet tried to acquire sixty- seven WOlfi drawings offered to him for SFr, 4,500 by Julius von Ries in 1963, but the sale fell through. in 1964 Dubulfet resumed publization of the series on Art Srut again, publishing eight vol- umes in only two years. He began with a richly ilustrated French ‘ranelation of Morgonthalor’s rmonograph, which appeared in 1984 under the ttle Adi! Will. In the early seventies Dubutfet acquired the collection of the former Waldau psychiatrist Oscar Forel, which made him the owner of ninety-two drawings and a ‘our part screen by WOifl. In the midseventies, Qubutfet returned to Lausanne to donate the entire colisction of his Art Brut pro- ject, over five thousand works, to the city. The Collection de Art Brut was opened in the Chateau de Beaulieu in 1976. To his donation Dubutfet attached the condition that no works were allowed to go on loan, Until the very end of his life, he viewed Art Brut as the preserve of untutored, ahistorical art, which had to be protected from contact with the art world. Ironically enough, cone of the pillars of Dubuffet’s Art Brut theory, Wott himself, had sought recognition and accaptance by the art world: he produced a large number of drawings on commission for callec- ‘ors, wanted to see his writings published, and was convinced ‘nat his drawings “somewhere would do credit to an art exhibi- tion"André roton and Adolf Wéifi ‘The surrealist André Breton met Dubuffet in Paris in 1944 and became one of the founding members of the Compagnie de I'Art Brut in 1948, The two planned to collaborate on an Almanach de Art Brut, to appear at the end of 1948, but the project was nat realized. In 1948 Breton published his article "Liar des fous: La clé des champs,” adopting Dubufet’s standpoint. In the au- tumn of 1951, however, they had a falling out, and Breton an- nounced his resignation from the Compagnie de I'Art Brut. He ‘was unwiling to accept Dubuttet’s desire to run the compagnie single-handedly. He alse objected to its imminent disbandment and criticizes Dubuttet for tivializing mental illness. In 1948 Breton, who had bought an assemblage by a psychotic as early as 1929, purchased two of Wolfl's drawings from Dubutfet’s collection.” In the midfities he traveled to Weldeu with an introduction from his friend Meret Oppentieim, who also accompanied him to the Waldau Museum. After this visit he asked Theodor Spoerri, a Waldau psychiatrist, for an essay on \Welfi's decoration of cupboards in the museum, which he pub= lished in his magazine Le surréalisme, méme in 1958 (French translation by Meret Oppenheim and Kostas Axelos}.” In 1985 “Tadmirable Welfl"> figured alongside Pablo Picasso, Heracli- tus, Octavio Paz, Charlas Fourier, Alphonse Toussenel, and. Georges Gurcijett in Breton’s list of the seven individuals that inspired the Eleventh International Exhiaition of Surrealism, at the Galerie Oeil In Paris. Breton's preface to the catalog was in ‘the form of alittle play introducing each of the seven figures (or seven dwarts?} with a short commentary and then letting them speak brielly for themselves. “The victor [Wolf], at one with the sacrifice, herein full grandeur; never has the front of the coin contrasted so strongly with the reverse: on the ane side, ithy~ phallic, pursuing some poor litle git, on the other side, cheertul though always lacked in, sieeves rolled up, plug of tobacco in his cheek, in front of a pile of his vivid creations, which, as an ensemble, represent one of the three or four most important ‘oeuvres of the twentieth century. And, what is not, shall be. ‘Amen, amen: Amen. And thus it shal! be" (quoting Walfi. The Fifties-Emerging Psychiatric Interest Ater the Second World War a new generation of psychiatrists ‘entered the field of psychopathology and art. Pictures by psy- Cchotics were discussed in publications and at psychiatric con- gresses, where thay were also shown in exhibitions. In 1950 the First International Congress of Psychiatry took place at Sainte-Anne Psychiatrie Hospital in Paris.” It was accompe- nied by an International Exhibition of Psychopathological Ar. organized by the psychiatrist Jean Delay, The two thousand works trom forty-five collections were seen by over ten thausand visitors in barely one month. The ten Wolf drawings shown were from the collection of Arnold Weber, a psychiatrist at Waldau. In 1956 Robert Volnat's extensive study of the art and the concept Of the exhibition, Lt psychooathologique, was published, the first large-scale book on the subject since Prinzhorn's Bilanere! der Geisteskrankon (1922).* In conjunction with the Symposium internazionale sull'are psic patologica in Verona in 1959, twenty-four of Wolfl's drawings ‘and notebook of drawings from Morgentnaler’s collection shown2" Itwas during this symposium that the Société Interna~ tionale de Psychopathologie de I'Expression (Society of Art and Psychopathology) was founded.” The goal of SIPE was to g2i" better understanding of the mentally il by investigating nonver- bal means of expression, Apart from many importsnt psychi ‘ists, such as Manfred Bleuler, Ludwig Binswanger, Jean De Emst Kretachmer, C. G, Jung, and Jaques Lacan the organics tion also numbered amnong Its members Jean Dubutfet, the ar: historian Ernst H. Gemarich, end the scholar of literature Jear Starobinsky, In 1958 Theodor Spoerri and Hans Heimann. two ‘young psychiatrists at Waldau, began to publish @ journal Continia psychiatrica: Grenzgebiete der Psychiatrie [Borderianc of Psychiatry] which continued to be Issued untll 1980" The magazine hac an anthropological slant and pursued the o' tive of expanding the psychiatric viewpoint in collaboration w. related disciplines. In 1969 Confinia psychiatrica became offical review of SIPE. Already in 1955 Spoerr and Heimann given a joint lecture course, "Mental llinass, Religion, ang Art the University cf Bem. The art historians Harald Szoemann = Eka Spoorri were among the eleven students who attendes lectures. This first encounter with psychatic art became er" rently important to Szeemann's later activity as an exhibition curator: "Brendel, WIM, Moller, Souter, the Prisoner of B: all of them gave me a great deal since Theodor Spoerr’s les tures on Wifi, which took place in conjunction with a theclo clan's lectures on Kierkegaard, drew my attentian to them in micfties."°° re In 1957 Theodor Spoerti and Max Huggler, then director of Museum of Fine Arts, Sern, and a professor of art history. 0" rized a seminar titled "“Geisteskrankheit unc Kunst” [Menta ress and aril, which was held at the museum, where the art ‘works were displayed, Spoemr’s book on Wolf's pictorial wor = ‘appeared in 1964 as volume 5 of the series Psychopatholoo) ‘and Pictorial Expression.” In 1961 Aled Bader, a psychiatrist working at the University 27Psychiatrie Clinic In Gery naar Lausanne, published Insante pin- gens: Wunderwelt des Wahns [Insania pingens: Wonderworld of rmaciness], with contrioutions by Jean Cocteau, Georg Schmidt (cirector of the Museum of Fine Arts, Basel), Hans Steck (direc tor of the University Psychiatrie Olinie in Cery), and Bader him- sol. The selection of the authors-writers, art historians, and poychiatrists-reflects the interdisciolinary collaboration envisioned by the journal Confinia psychiatrica and SIPE. In 1963 Bader, who had collacted psychotic art since the midtifties, founded the Centre d'etudes de expression plastique at the University Psychiatric Clinic in Gery. Adolf Woifli and the Art World In the fifties interest in Art Brut was largely restricted to psychia trists and André Breton's coterie. In the sixties, curators, art his~ torians, and artists began discussing Art Brut in exhibitions, cet- logs, and books. The work of the mentally ill was increasingly accented as art. In 1963 Harald Szeemann mounted the first exhibition of such ‘work at an official art institution, the Kunsthalle in Bem. Bifdnerei der Geisteskranken-Art Brut-insania Pingens. part of Szes- mann’ exhibition series devoted to marginal areas of ar, showed works by seventeen "schizophrenic arists." including Wifi In only three weeks the exhibition was seen by more than four thousand visiters, inctuding many artists. The following year one of Wolfl’s works, Riesen-Stedt, Waaben-Hail (Giant ity, Honeycombb-Hall; 1917] found its way into a museum col lection for the first time. The drawing was part of a private col- lection of works by Dubuffet given to the Museum of Fine Arts, Basel, and thus Wolf, as the irony of history woule have it, en- tered a collection of arts cutturets via the inventor of Art Brut. In 11967 an Art Brut exhibition was hald at the Musée des Arts Dé- coratifs in Paris. Ai this second survey exhibition, Dubutfet showad a selection of seven hundred works from his collection including his entre stock of Willi drawings. in 1968 Wolli was included in the official Knstleriexikon der Schweiz (Encyclope- dia of Swiss artists}, On the initiative of the editor, Hans Christoph von Tavel, ater the director of the Museum of Fine Arts in Bern, Elka Spoert wrote a short text about him. Works by \Wolti, Alois, and Miller were included in the Schwetzer Zeich- ungen des XX. Jahrhunderts (Swiss drawings of the twentieth century} exhibition in 1971, which assembled a representative selection of Swiss drawings trem Ferdinand Hodler to Jean Tinguely and was shown in various cities in Switzerland and Germany. In the same year the Kupferstichkabinett, Museum of Fine Arts, Basel, devoted an exhibition ta the Wall callection of Ernst and Elisabeth Mumenthaler Fischer (101 drawings} thus 218 becoming the first public art ineitution to honar a pyschotic artist vith @ one-man show. The catalog included texts by Franz. Meyer and Dieter Kosppiin. was at documenta 5 in Kassol in 1972, however, that Woltl’s work gained international recognition and was granted a secure place among contemporary art. Harald Szeemann put Wolf's art in the section “Individuelle Mythologien” (incividual mythalo- ‘la5).” He reconstructed the cell in which Welfli worked and lived, and in it he displayed the complete stack of Wetfi’s writ- ings. A second room presented a reconstruction of the Waldau Museum, complete with the cupboards and vitrines decorated by Wolfi, Theodor Spoert's assay “Identitét von Abbilcung und [Abgabildetem in der Bildnerei der Geisteskranken” (identity of representation and the represented in the art of the mentally il) in the exhibition catalag included a discussion of Wetfi’s art, for the frst time taking into account as well the content of his wnit- ings. The English-speaking world gained acoass to Art Brut with the publication of Rager Cardinal's Outsider Artin 1972. Cardinal followed Prinzhorn, Volmat, and Dubuftet as the fourth author to ‘rite a comprehensive study on the subject. The book began with @ historical survey of Art Brut and want on to relate the bi- cographies of twenty-nine artists. Cardinal's transiation of the label “Art Brut” as “Outsider Art” soon established itsetf as standard term and is used today all over the world to designate art by those considered marginal to the mainstream of the art ‘world. Both Szeemann and Cardinal continued to pursue their interest in the art of the mentally il, Szeemarnn placed their ‘works in the broader context of modem ar, including them in thematic exhibitions Junggesellenmaschine [Bachelor machine], 1975: Der Hang zum Gesamtiunstwerk [The tendency toward the total work of art], 1989; anc! Visionare Schweiz [Visionary Switzerland), 1991. Cardinal explores the specific concept of “outsiders” by discussing acceptance and rejection by the art world and by emphasizing the importance of aasthetic criteria in ‘evaluating Outsider Ari. In 1978 Jlirgen Glaosemer, then director of the Paul Klee Founda- tion in Bern, showed a group of Weltl’s drawings as part of an exhibition in the Museum of Bern titled Pau! Klee: Handeichnun- {gen Kingheit bis 1920 [Paul Klee: Drawings, childhood until 1920}, Glaesemer was a docided and cecisive advocate of integrating \Woiti into the collection af the museum. He organized with Elka ‘Spoerrithe frst major retrospective and traveling exhioition of Woltl’s work (1976-1880) and collaborated with her in editing the catalog and ail sudsequent publications. In 1987 in Die Gietch- Zeitigheit des Andoren [The simultaneity of the other), Giaesemer's last exhibition, he put Wélfli and Klee in the same room189 Adolf Was with paper trumpet, ©. 1928 219‘The Collection de IAvt Brut opened in Lausanne in 1976. Michel ‘Thévoz, author of the book L’Art Brut (1975), was appointed director of the newly established museum and continued, with the expert assistance of Genevieve Roulin, to expand the callec- tion along the lines of its founder, Jean Dubuttet, In the same year the psychiatrists Alfred Bader and Leo Navratil publ shed Zwischen Wahn und Wirkichkelt: Kunst-Psychose-Kreativitat [Between madness and realty: Art-psychosis-creativity]* Tris book was the sixth comprehensive study of the art of the men= tally il, joining those of Prinzhomn, Volmat, Dubutfet, Cardinal, and Thevoz, and since then several teat'ses on Art Brut and Outsider Art have been written, also including younger artists _{s00 tho Bibliography), ‘The sixiios and seventies witnessed a number of artistic homages to Wlfl and other mentally ill artists; thelr works were becoming an important source of inspiration for many contem- porary artists, The artist Daniel Spoerri had already visited the Waldau Museum in the late fifties. In 1960 Jean Tinguely anc Bernhard Luginbuhl visited the Waldau Museum while they were [preparing their ont exhibition at the Kunsthalle in Bern; their guide was Franz Meyer, then director of the Kunsthalle, who was already familiar with WIfi's work. In 1960 Daniel Spoerri made ‘an assemblage Hommage a Anton Maller, pére de Dieu (1960) ‘and Tinguely a sculpture Hommage & Anion Milies.° The first homages to Well were given in the late sixties, by the Swiss ‘artist Johannes Gachnang (1967) and by the Austrian painter ‘Arnulf Rainer (1969), who had been collecting Outsider Art ssince the early 1960s. With exhibitions making WIM's work increasingly accessible in the seventies, there were further homages-trom Markus Ratz (1970), Meret Oppenheim (1974), Dariel Spoerri (1976), Franz Eggenschwiler (1978), André ‘Thomkins (1978), and Hermann Nitsch (1978). Bernhard Lugin- buh! and Jean Tinguely cooperated to honor Woltl’s work in five Zor (Rage) incineration happenings (1976-1983); the French. tertist Annetle Messager identified Walllias one of the major artistic influences on her work:* and the American artist Jonathan Borofsky regarded Wolf's work as confirmation of his own methad.* ‘The Adolf Wéilfii Foundation In 1972 the success Wolf's work had enjoyed at the documenta 5 exhibition prompted three members of the Bernese parliament to make an aificial inquiry about how safely these works, now ‘considered valuable, were housed in Waldau and whether there was a way of making them accessible to a larger public. A committee was appointed, and on its recommendation the ‘whole Waldau Collection (147 drawings, 6 school notebooks, 220 and 44 volumes of narrative writing) were deposited at the Mu- seum of Fine Arts in Bern, In October 1974 Morgenthaler's col- lection entered the museurn as “Gift of Dr. Walter Morgenthaler/Or. Fred Singelsen” (103 works). In 1975 the Adolf Wolf Foundation was established “io secure the propa- ¢gation and the maintenance of the work of the Bemese cralts- man Adolf Wolf, to acquire further works by him, to compile an inventory of his works, to promote research, and to make his works accessible to the public." Elka Spoerr! was appoint- ed curator of the foundation. Contemporary Composers and Adolf W8itli Brief extracts of Wolf's musical compositions were transcribed by the musicologists Peter Streiff and Kjell Keller in 1976 and performed at the opening of the Adolf Wil traveling exhibition in Bem, The compositions and excerpts of the writings were recorded in 1978 by a trio and two speakers on a LP record Wii: Getesen und vortont [Witt in word and music}. In general composers have shown litte interest in Wall's own ‘compositions. Rather, contemporary classical composers and minimal and independent-underground musicians have focused ‘on the content ef his imaginary autobiography From the Cradle to the Grave, on the cosmic travel of the Geographic and Alge- braic Books, end on the rhythmic element of his language. Between 1980 and 1982 the Danish composer Per Norgard wrote ‘three WOlfl-related works: We ein Kind [Like a child], a choral piece, Indischer Rosengarten und Ghinesischer Hexensee |Indian rosegarden and Chinese sea of the wilehes}, a symphony, and Die bttiche Kirmes [The divine fai, an opera. The last is an impres- ‘sive scenic conceptualization of the web of relationships connect- ing Welt, his childish alter ago Douti, nis newly created persona St. Adolf Il and the figures populating his private wortd Alter using texts by Friedrich Holderlin, Jakob Michael Reinhold Lenz, and Ernst Herbeck to make musical compositions, the German composer Wolfgang Rinm explored Woitl’s poams and composed the WOiti Liederbuch [Walt songbook in 1980-1981 ‘The premier was at the avant-garde festival Steirischer Herbst in Graz in 1981, as part of a program of Waltli Scanes, including compositions by Gésta Neuwirth (Eine wahre Geschichte: Tragi- farce in drei Bilder mit einem Projag), Georg Hass, and Anton Prestele. Commissioned by Erich Holigor, cramaturg at the Basel Theatre, the Austrian composer Ingomar Grinauer wrote the libretto of the chamber opera Die Schopfungsgeschichte des Acolf WS[The creation story of Adolt Wott], which premiered in Basel in 1982. Gronauar was, as he himself put I, “fascinated by the way \Wolfl obstinataly pursued the same basic motifs, which recur again and again in altered form.” In 1985 the New Zealander Graeme Revell, the French group Déficit des années antérioures, and the group Nurse with Wound introduced the independent label Musique Brut. They recorded the LP Necropolis, Amphibians & Reptiles based on Wall's work and also inclucing Revall's music for the film Necropotis (lit crofl/Goldbachen). The Swiss composer Regina Irman wrote three Welfl-inspired compositions: Ein vatter-ldndischer Lieder-Bogen [A fatherland songbook), for woman's voice and prepared piano (1985-1286); Ein Travermarsch [A {uneral marchl, for voice and percussion trio (1987), which alludes to the phonic poems of Wotl's Trauermarsch (1828-1930): and Tabetlen [Register], for three voices and percussion trio (1991). ‘The California artist Tery Riley, who with fellow pioneers Steve Reich, Philip Glass, and La Monte Young originated minimalist ‘music in the United States, saw Wolf's drawings in Glaesemer's exhibition Die Gleichzettigkeit des Ancieren in 1987. This encounter with Wélfi's universe provided the spark for a “work in progress," which Riley has performed in different versions in Philadelphia and Nice, and as a multimedia spectacie in Bern in 1994. In the early 1990s the Swede Mats Johansson, who had already written a work about the French Outsicer Artist Ferdi- rand Cheval, translaied Wolfi's imaginary travels into the pop- rmusic-ingpired Voyage: A Trp to Elsewhere. The latest composi- tien relating to Wolll Is by the Italian Lucia Renchett, whose two pleces Musiktassf [Small barrel of music] and Zahn [Rage] were performed in 1994 in Rome and 1995 in Paris. The Publication of Adolf Watti’s Writings Between 1976 and 1978 Wolf's writings were transcribed and studied. The publication of the first part of his writings, his imaai- nary autobiography, Von der Wiege bis zum Graab, in 1985 drew attention to Weill as @ writer” Already recognized by the art ‘world, he was now acknowledged by the literary world as wel Asa result he was included in literary encyclopedias and en- thologies of texts by Swiss authors. Various German-speaking writers responded to Weilfi’s work, among them Peter Bichse| Adolf Muschg, Jirg Laecerach, Hans-Jirgen Heinrichs, and Till Briegleb.« The publication of Walfl’s writings continued in 1981 ‘with Geagraphisches Heft No. 17, in which Well describes the ‘genesis af the "St, Adolf Giant Creation.” In contrast to Wolf's drawings, for which there is ne language barter, his wrlings are accessible only to those who can read ‘German, but amiong German speakers they elicited a response." Wolf's Work received a special tribute at a reading performance held in the main rallroad station in Darmstadt from 18 to 22 Oc- tober 1993, For four days end nights students from the Institut fur Angewandte Theaterwissanschatt (Insitute for Applied The- ater Science) in Giessen gave a marathon, nonstop reading of Von der Wiege bis zum Graay in its entirety \WeIfl in Individual and Group Exhibitions The new insights obtained from the content of the writings be- came the basis for the first all-inclusive exhibition in 1976, titled Ado! Wei, Over twe hundred pictures, forthe first time includ Ing illustrations of his narrative oeuvre, offered a compretiensive survey of his work. The exhibition traveled to fourtaen cities in Europe and the United States betwoon 1976 and 1980. A cata log in German, English, and French, with contributions by art historians, critics of literature, musicologists, psychiatrists, anct writers accompanied the exhibition. (Over the past twenty years, Wolf's crawings have been shown In thirteen one-man shows and over forty group exhibitions. The one-man shows, all organized by the Adolf Wifi Foundation, were devoted either to Weil's entire oeuvre oF focused on @ specific aspact of his work. On the the publication of Adott Wéiti: Zeichnungen, 1304-1906, in 1987 the Stadelsches Kunstinsttut in Frankfurt showed Wall's early work, the pencil drawings from 1904~1906, The catalog documented all forty- rine known works, providing full-page illustrations and diagrams, The 1991 exhlbtion Woltf - Zeichner und Komponist [Wélfi-drattsman and composer), also with catalog, focused on , ‘music in Weltl’s art. Other exhibitions showed Wolti’s collages, number pictures, maps of cities, and the so-called Bread Ant, drawings he made for sale. Since the beginning of the 19808 a constantly changing selection of Wolfi’s work has been on dis- play at the Museum of Fine Arts, Bern. Group exhibitions have shown Wéltllin the context of Outsider ‘Art as well as i large thematic exhibitions devoted to specific subjacts. These providad new understanding of the variety of his ‘eure: Liber die ungewannliche Natur des Geldes (Dissseidort, 1978-1979), Images et imaginaires darchitecture (Paris, 1984), auf ein Wort: Konkrete Poasie (Manz, 1987), Les cauleurs de argents (Paris, 1981), Art et publicité (Paris, 1991), Die Sprache der Kunst (Vienna, 1993-1994}. Other thematic exhibitions in- cluded Harald Szeemann’s Hang um Gesamttunstivert (Zurich, 1983) and Visionare Schwelz (Zutich, 1991), and Jurgen Glaese- 221mers Die Gleichzeitighott des Anderen (Bern, 1987)-as wall as Jean Host’s Open Minc-gestoten circuits (Ghent, 1988), Marc Dachy’s £ tous iis changent fe monde (Lyons, 1998}, and Mau rice Tuchman's Parallel Visions: Modem Artists and Outsider Art (Los Angeles, 1999} The Art Markot The inclusion of Weil's work in galleries anc auctions can be seen as a further public recognition. In 1263 von Ries's sale of sixty-seven draviings to Dubutfet for SF. 4,500 did not materiak |e; however, the same year, the Swiss artists Bernhard Lugin- ‘buh and Otto Techumi each bought a Wolti drawing fer SFr 1,000 at the Bilanerei dar Geistaskranken — Art Brut —tnsania ‘pingans exhibition at the Kunsthalle in Bern. The Galerie Brock- stedt in Hariourg was the fist gallery to sell Wolf drawings, in 1957. The first work sold at an auction was at Kornfeld and Kip- stein (Bern in 1970. in the early 1970s the prices of the drawings, varied from SFr. 3,000 to 10,000; in 1984 one of W's large drawings, Memorandum (1927; private collection, brought @ record price of SFr. 120,000; in 1996 and 1996 drawings were sold at an auction outside of Switzerland (Philips and Sotheby's, London). While art prices in general stagnated or fell n the early rineties, the price of W's works Goubled. Qutsider Art was, a the Wal Steet Journal put itn 1982, “suckleniy the rage among art insiders."* Wolf's status as a ciassic outsiders also shown by a multitude of cover designs for art books, novels, or scientific publications: Cardinal's Ovisier Art (1972), the catalog of the Collection de I’ Brut (1976), uohn MacGregor's Discov- 21y ofthe Art ofthe insane (1989), andthe English edition of Princhorn’s Artistry of the Mentally iu (1986). Since the eighties, ‘Wolf's deawings have also regularly appeared an advertising brochures and posters. In 1994 he was included in the Grosser Brockhaus, the standard encyclopedia of the German-speaking wort Adolf Weil in the United States ‘There have been two mejor exhibitions of WEIf's work in the United States, The first was the Adolf WEIN exhibition, which traveled to the Busch-Relsinger Museum in Cambridge, Massa- cchusetts, the Chicago Museum of Contemporary Art, and the Art Center in Des Moines, lowa, in 1978-1979; the second, The Other Side of the Moon: The Art of Adialf WIHT, organized by Elsa Longhauser, Moore College of Art, Philadelphia, could be sean in Philadelphia, New York, Serkelay, and Santa Barbara in 1988-1288. In connection with tha showing of the exhibition in Philadelphia, Peter Schumann and the Bread ang Puppets street 222 ‘theater performed The Tom Thumb Promenade with Heavenly Gardens, a piece inspired by Weii’s work. Both exhibitions were ‘widely covered by the press, and Ann Temkin, the art historian, ‘wrote a comprehensive article connecting Woll's work with the ristory of modernism and psychopathology.” One center of American interest in Outsider Art was the universi- ty. In 1987 a symposium “Art without History" was held in Boston as part of the annual conference of the Collage Art Asso lation. Organized by Irvin Lavin, an art history professor at Princeton, the symposium included tio lectures on the field of art and peychopatrolagy: “The Art Historian as Outsider: The Discovery of Outsider Art in America” (John M. MacGregor) and “The Art of Adolf Wolf” (Elka Speerr). That same year, MacGre- {gor visited the Adolf Wolf Foundation in Bern. In 1989 he pub- lished an extensive study titled The Discovery of the Art of the Insane, which contained a long chapter on Adolf Walfll anc Wal- ‘ter Morgenthaler In 1990 Elka Spoerri taught a seminar on ‘Outsider Art at the City University of New York, which marked the beginning of a series of annual lectures for art departments at various American colleges and universities. In 1992 the Ameri- ‘can psychiatrist Aaron H. Esman published his translation of Morgenthaler's monograph on Wifi." in 1994 the annual meet- ing of the American Psychiatric Association included lectures on ‘two psychotic anisis, Adolf Wolf (Elke Spoerr) and Martin Ramirez (Phyllis Kind), The interest of the American Psychiatric Association, MacGregor's book, the English edition of Morgen- thaler's monograph, and the American psychologist Louis A, SSass's Madiness and Madernism (1992) all indicate that con: temporary American psychiatry is devoting increasing attention to the subject of art and psychopathology, ‘The interest shown by US. universities offered a sharp contrast to the situation at European universities. The only seminar was hold at the University of Basel, and its papers published in 1993 as Portrait eines produktiven Untalis-Adoit Weifi [Portrait of a productive accident-Adolf Wolf” Adolf Waifl, Bern, and Switzerland Adolf Weil's work survived and became known in the wider ‘world because of several fortuitous circumstances. The first, coincidence was that Walter Morgenthaler and Adolf Wall were ‘at Waldau at the same time. Morgenthaler was interested in artistic creativity and able to recagnize his patient's work as art Wertl went on making his ar, and Merganthaler was there to document his progress in a monograph published at a historical- ly Important moment in the 1920s. By the miafifties Theodor Spoerr and Hans Heimann, two psychiatrists of a new generation, were working at Walciau. Both were interested in the bor= Gerlands of psychiatry and were committed to interdiseiplinary research, The art of the insane, particularly Woltl’s ar, was now Viewad in a neve psychiatric and historic-cultural context, In the early sixties a young art historian, Harald Szeemann, took up this novel approach and expanded on it, opening up the Kunsthalle Bern to Art Brut. Szeemann showed Wall's wark in an interna tional art context at documenta 6 In Kassel in 1972. At about the same time, Jdrgen Giaesemer, director of the Paul Klee Founda- tion, and Michel de Rivaz, presicent of the Adalf Waifli Founda- tion, succeeded in making Wall's work part of the callection of the Museum of Fine Arts, Bern. In Lausanne another series of happy coincidences ultimately resulted in the establishment of the Collection de I'Art Brut in 1976. When Dubutfet was asked why he had donated his collac- tion to Lausanna in particular, he answered: "Out of fiandship; | was very friendly with Paul Budry, Charles-Albert Cingtia, [Rend] Auberjonois. | began my search in 1945 at Waldau, where WOltl had lived, and in Geneva, where I saw Professor Ladame's col- lections of drawings by sick pgople. It was also in Lausanne that | got to know Aloise. The fact is that in my search | found more help and understanding in Switzerland, especially from doctors, han anywhere else.” At the Basel Museum, the gift of Emst and Elisabeth Mumen- ‘haler-Fischer converged with Franz Meyer's long-standing inter- st and Dieter Koopplin’s good eye, and the encounter led to the first museum exhibition of WalN’s art, Perhaps, in the end, we ‘owe the preservation and dissemination of Wolti’s art to the happy coincidence that, as Dubutfet once put It, Switzerland had “the finest lunatics." Notes Waiter Morgenthaler, Ein Geisteshranker a Kunstier (Sern, 1921 reprint Vienna and Beri, 1985). English transition: Madness anc Art The Lite and Works of Adolf Wf, trans. Aaron H. Esman (Lincoln, Ne, 1992). The Bock contains a porvalt of dof! Wein plus three colar {nd Seventeen black-anc:-uhite reproductions of his drawings. Iwas issued by Emst Bircher @ publishing house spacializing in studies ant hanabocks of medicine and peychology. Tne publication had been are- ceded, in tho winler of 1819-1920, by two lectures on Wall: atthe 16th Moeting of tha Sehwoizenaana Neurelag|sche Gasalischatt [Swiss Nau= ‘ological Association) in Solothurn and forthe Bernische Kunstgesell schaft [Bernese Ari Society. In 1921 Morgenthaler became director ofa private clinic in Munchenduchses. Inthe twenties he devoted his ener 9185 to developing a course of training for nursing staf. His efforts cul- ‘inated in a recognized training program and tha standard textbook Die lege des Gemais- und Geisteskranken [Care of te ernetionally ane rmettaly ll (Bom, 1980) Hertran Rorschach, “Analytlache Bomarkungen Uber des Gemélde ‘eines Schizophrenen,” Zentratbat lr Paychoanaiyse una Psychothera- pie 3 1913): 270272; and “Analyse einer schizophrenen Zeich nung Zenivaibat for Peychosnalyse und Psychotherapie 4 (1914). 53-98. See ‘also Walter Morgenthaley, "Userginge zwischen Zeichnen und ‘Sohreiben bel Geisteakranken," Schweizer Archiv fr Neurofogie und Payohiaine, 2, ro. 2 0978); 255-308, Hans Prinzhorn, Bicnece! dor Gaisteskrankon: En Beitrag 2ur Psychole- gi und Psychopathologie der Gestaltung (Berlin, 1922). Publshod in English as Asi of the Mental f, with an intraduction by James L. Foy (repaint vienna and New York, 1995), Prinzhorn had already reported fon hs research in 1919 (Hans Prinzhor, "Das bildnensehe Schatten der Gaisteskranken," Zetschrit tr gesamte Newrolagie und Psychiaine 53 (1918) 307-26). In 1920 anc 1821 both Morgenthaie anc Prinzhocn aitended the 591 and 6st meetings of the Schweizerischer Verein far Paychiatria (Swiss Association far Psychiatry in Zurich. Among the predecessors of Morgenthaler’s anc! Pinahorn's studies as the psych’ Arist Paul Gaston Wieunier's book lart chee las fous, publishes hy Pars in 1907, under the pseudonym Marcol Raja. “Adolf Kolsch, ‘Damon,” Neve Zurcher Zeitung, 30 and 31 August 1921 Falner Maria Rilke und Lou Andraas-Sclomé, Briefwechel, e¢. Ernst Peifer (Zurich and Wiesbaden, 1952), 450-64, reprinted in Der Engel des Horn en Kuchenschare: Uber Ado! WH, ed. Elka Spoon (Frank {urt am Main, 1987). pp. 89-70. Freud makes no mention of Morgen ‘halons sty “Homo, der letzte Fromme Eureper: Sein Leben, seine Versuche, und Anstrengungen: Ein Hens Morgenthaler Lesebuch, ed. Rager Ferret (Basel, 1982}, 906-8 Stank Michel Beret ang Armin Heusser for this information, Cr. Wolf's ease history (Mana von Fes), publishes in Morgnthalar, Ein Geistesivanker,p, 142. “Aussteliung Kind- und segencieichnungen aus dem Besite der -Maontsimer Konsthaile, Gewerbemuseum Winterinur, 23 Februsy-30 March 1980. Christoph Keler, Der Schédetvermesser: Otto Schlaginhaufen ~ Anihro- plage und Rassennysieniker Eine biographische Reportage (Zurich 495), cuoted in Stepran Kass, "Masta Otto gat Trabe,” Neve Zorcher Zelung, 27 Apri 1998, * Jean Paultan, "Guide d'un petit voyage en Suisse,” in Las canters do la pletade (Pans, 1846), v3.1, pp. 197-216; reprinted in Oeuvres com- pletes (Pars, 1988), val. 1, p. 258. bic, 259-59 . "= Dubuffet had probably algo read Prinzhomn's book, forhe know how to read German, despite his claim in an interview with uohn M. MacGragor: “Iwaant abe to read Pnnzhorn eecause it was in German.” Joan M. MacGregor, “Art Brut Chez Dubutfet: An Interview with the Artist, August 21, 1076," Raw Vision ? 1998): 42. But in 1848 ho wroto to Jakob \Wyrach, vice-creotor of Waldaur "PS. As! road German (but vite it very badly), you can answer me in that language." (Dubuffet to Wyrsch, 22 October 1948, erchives of the Adolf Wolf Foundation, Museum ot Fine Aris, Ser). ° See also Henry-Claude Cousveau, ‘Lorigine et 'écat D'un art & autre,” Pars-Pavis: Créations en France, 1987-1957, exibition catalog, Canive Georges Pompidou (Paris, 1981), pp. 160-72 “anaite Malraux, Psychologie de art: Le musse imaginaie (Geneva, 1947) "Dubutfet to Wyrsch, 22 October 1948, archives ofthe Wei Founda- tion “Jean Dubuitet, Lar brut prétirs aux arts cutures, exhibition catalog, Galerie Rene Drouin (Pars, 1949), reprinted in Jean Dube, Prosece tus 6¢ tous écrits suivants [Paris, 1967), vol. 1, p. 1In this connection, see the convincing article by Sarah Wiison, “From the Asylum to the Museum. Marginal Artin Paris and Now York, 1838-1968,” Paralie! Visions: Modern Artists and Quisider Art, 6xnisition catalog (Princeton, 1992), pp. 121-49, “Walter Morgerthaler, Ado WéiN, trans. Heny-Pol Souche Paris, 1264), This Fronch edition i lightly abridged. "See the reversa of he drawing Grass Gottin Unga von Indien, 1922, Department of Prints and Drawings, Museum ot Fina Arts, Base! = Andie Breton, “L'art des fous: La cle des champs.” Cafors do fa piéiade, no. 6 (1948). 101-3, reprinted in André Breion, Le surdateme ot ‘a pointure (Pars, 1965), ‘André Braton: La boauté convulsive, exhiption catalog, Centre Georges Pompisou (Paris, 1991), p. 487, The drawings were included in ‘his exhibition. Theodor Spoent, “Liaimoire d’Adotf Welt 70, 4 (1958). ‘André Broton, “Jasoph Grépin® (1954), in Le surraiome etl peinture, p. 306 André Breton, “Génénque" (1965), in Perspective cavalire (Pars, 1970), pp. 288-42. Tho quotation is frm book 11, p. 77 (1912) and was joted by Morgenthaler in Madness ang Act, p. 8 An exhibition of over two huncted works by the mentally il had already ‘oon held therein 1946 (witout any Wei crawings). See also Wison, From the Asylum to the Museum." “Fabert Vola, art psychopathologique (Pers, 1956). Furth works 6y WOini wore exhipfed at the Cengrass of Psychiatry in Zurich in 1957 and at the Musée des Beaux-Arts in Besarigon, as part of the Oouvres a'art psycitopatholagique shaw in 1958. elween 1959 and 1965 SIPE presented fourteen exhibitions af the an of the mentaly It in connection with their congresses in Europe, Amen- ca, and aArica. The ist of eciters aso includad the psychiatrists Jean Delay and Ernst kratschmer, the philasopher Kar! Jaspers, the theoiooian Paul Tlic the art historian Max Huggler, and the literary historian Water Musohg. In 41929 Waldau changed iis name to Bernische kantonale ran-, Hel- und Prlegeanstalt Walsu; since 1968 it hes been called Paychiatisehe Universtitokini = Harald Szeomann, "Und siegt der Wahn, so muss dle Kunst: Mehr Inhalioren.” in Von einer Wit zur Andien, ed. Roman Euxbaum enet Pablo Stani (Colegne, 1990), p. 68. Theodor Speer, De Biderwelt Adolf Waits, sine Peychopathologio Und bilénevischer Auecruck, vol. § (Basol, 196d), The series was financed by the Basel chemical fm Sandaz; t anpaared in tive languages ang was supplied free of charge to all members oF SIPE. Herald Szoomann, “Var roektos Wentc: Kennen Geisteskranke Konst- ler sein?” (1963), Incividuelle Mythologien (Berin, 1985), pp. 125-27. ‘See Szeemann, inaiviuele Mythatoaren, Roger Cardinal, Outsider Art (London, 1972), See Roger Cardinal, "Surreelism and the Paradigm of the Creative ‘Subjct.” in Parle’ Visions: Modern Artists and Outsider At, exni bition Catalog (Princeton, 1992), pp. 94-119; Cardinal, “Toward an Outsider Aesthetic,” The Artist Outsider Creatnity and the Boundaries of Cuore (Washingion, D.C., 1994), pp, 20-43; Cardinal, "Between Order and Acivonture,” Visions from the Left Coast: Caifornia Saf-Taugnt Artists ‘xniilon catalog (Santa Berbara Contemporary Arts Farum, 1895), op, 9-14, Inhis context, see also Chrstian Delacampagne, "Beyond Art Brut." Rawr Vision, no. & (1993-1904); and "Arte fll: des oeuvres sans concept?” Loouvra of sos métamorpiosss, Institut des Art Visuels |Paris, 1904), pp. 148-51, Lo suméatisme, mbme, 224 * Alfred Bader and Leo Navratil, Zwischen Waho und Wislichkett ‘Kunst-Psychose-Kreetvit (Luceme and Frankfurt am Main, 1976). ‘Already In 1985 Navratil had pubished Scrizophrenie und Kunst [Schizophrenia and art. In Schizophrenve und Sorache [Schizophrenia {and language), published in 1988, Nawati directed attention to the ‘watings of the mentally il mainly poems). la 1961 he opened the f2- ‘mous “House for Atisis" in Gugging not far from Vienna, an asylum for Art Brut arists (Oswald Techurner, Johann Hauser, August Walla, ard thers) Sep Roman Kurzmeyer, "Hinwe's aut einige Freurcle seiner Maschi- non,” ln Heinrich Anton Mer (Basel, 1284), pp. 190-04, = Michel Nuricsany, interview with Annette Messager, Figare, 28 March 1993, Messenger want to Dubutfet's big Ar Brut exhibition in Pans in 11987, where she got the Carers Dubutfet had published on At Brut "Sed Paralie! Visions; and Der Engel des Horm. “Foundation cheriet of 24 November 1975. * MHLW, "Ado Wolf,” Beer Zeitung, 20 March 1982, “In connection with Iman, Rinm, and Neuwirth, see Jirg Stenzel, “Adolf Wei lu par ois compositeurs,” Wolf: Dessinateur~ Compost. feur (Lausanne, 1881), pp. 61-68. Adolf Woll, Von der Wiege bis zum Graab; oder, Durch arbetten und schwitzen, leiden, unc Drangsal, bettered zu Fluch: Schaiten, 1908-1912, ed. Dieter Schware and Eka Spoeri, Ado WO Founda tion, Musoum of Fine Ats, Born (Frankfurt am Main, 1985) “~ Alltexts pulisned in Der Enge! oes Heer, © nthe late eighties the frst experimental translations of short passages frorn Wit's texts wore made {in English, Fronch, and Hungeian). See Black Letters Unleashec: 300 Years of Enthuses Wnting n Germ, Alas Anthology no. 6 (London, 1988). pp. 88-78: and in tne Realms of the Unreat “insane” Writings, ed. John G. H. Oakes {New York, 1981), Bp. 91-106; £t tous is changent ie monde, exhisiton catalog, Deuxeme Biennale o’Art Contemporain (Lyon, 1999), pp. 76-83; Naopalt haz, no. 4 (1995), “Ken Wells, “Outsider Art Is Suddenly the Rage among Art insiders,” Wal Street Journal, 25 February 1952. Ann Terni, "Weil's Asylum Art," Act in America (March 1988} 12-40. “John M, MacGragor, The Discovery of tne Art of the tnsane (Princeton, 1989) “NMorgenthaler, Art and Madness. “Louis &. Sass, Madnoss and Modemisr: insanity inthe Light of Moo 19 Art, Literature, and Thought (Cambridge, Mass, 1982). Ronrat eines produktiven Uintals~ Adal Wolf: Dokurnerte unt FRecherchen, e6. and with conttibutions by Betina Hunger, Michael Kohleniecn, Roman Kurameyer, Ralph Schvécer, Martin Stingelin, and Hubert Thuring (Basel, 1989). > Quoted in Michel Thevoz, Collection de (Art Brut (Lausanne, 1976}, unpaginatectszz 2 i : 5 ‘aro fa poxesco0p siesojo uapooM $3y 2264 aie “0 1g 30 woo.08 2 5