The idea of the artistic ‘genius’, it’s effect on the artist and the way we value art: A study of Leonardo da Vinci, Pablo Picasso and Vincent Van Gogh. The word ‘genius’ is littered throughout history. Particularly synonymous with creativity, it has been used to describe the highest achieving and most influential figures in the art world. The definition of the term, however, is vague and highly debated. In this essay I intend to explore it’s criteria, validity and effects on artists, art history and society as a result. Perhaps the most obvious assumption is that genius is a result of intelligence. Lewis Termin thought that an IQ of 140 was the threshold for potential genius,1 however, this theory is problematic because intelligence tests are notoriously inaccurate and many people with lower IQ scores have gone on to be extremely high achievers. One might then ask, is achievement a better measure of genius? Possibly, but achievement is easier to attain from a position of privilege. It has also been suggested that genius is the judgement of society,2 if this is the case then its possible that intellect and skill could be overshadowed by charisma, with eccentric characters providing a more memorable figure for public renown.3 Leonardo da Vinci may provide a perfect personification of the term ‘artistic genius’. Not only was he incredibly skilled as a painter but he also possessed an unrivalled thirst for knowledge – using his skill for drawing as a way to study nature.4 His work is some of the most influential ever produced by an artist and his most famous paintings are known even to those with little interest in art. Although da Vinci’s skill is undeniable, he almost certainly wouldn’t have gained such a high status if he hadn’t been born a male or to a father with a high reputation that was able to offer him the opportunity to be an apprentice to a renowned artist.5 This is because the Fig 1 – “The Mona Lisa” by Leonard da Vinci. women of the time had no access to formal education6 and those in poverty had little time for anything other than merely surviving. An interesting comparison may be provided here in Sofonisba Anguissola, a female painter who managed to achieve some success as the court painter for King Philip II of Spain in the 16th century, although she was never officially awarded this title and her paintings were only referred to as genius when falsely attributed to a man.7
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Fig 2 – Self-portrait by Sofonisba Anguissola.
Barbara Kerr, "Genius | Psychology", Encyclopedia Britannica, 1998 <https://www.britannica.com/science/genius-psychology> [Accessed 19 May 2021]. 2 Claudia Kalb, "What Makes A Genius?", National Geographic, 2021 <https://www.nationalgeographic.com/magazine/article/geniusgenetics-intelligence-neuroscience-creativity-einstein> [Accessed 18 May 2021]. 3 Rudolf Wittkower, "Individualism In Art And Artists: A Renaissance Problem", Journal Of The History Of Ideas, 22.3 (1961), 293 <https://doi.org/10.2307/2708126>. 4 Ludwig Heinrich Heydenreich, "Leonardo Da Vinci | Biography, Art, Paintings, Mona Lisa, Drawings, Inventions, Achievements, & Facts", Encyclopedia Britannica, 1998 <https://www.britannica.com/biography/Leonardo-da-Vinci> [Accessed 19 May 2021]. 5 Ludwig Heinrich Heydenreich, "Leonardo Da Vinci | Biography, Art, Paintings, Mona Lisa, Drawings, Inventions, Achievements, & Facts", Encyclopedia Britannica, 1998 <https://www.britannica.com/biography/Leonardo-da-Vinci> [Accessed 19 May 2021]. 6 Alixe Bovey, "Women In Medieval Society", The British Library, 2015 <https://www.bl.uk/the-middle-ages/articles/women-inmedieval-society#> [Accessed 19 May 2021]. 7 Cody Delistraty, "The Myth Of The Artistic Genius", The Paris Review, 2020 <https://www.theparisreview.org/blog/2020/01/08/themyth-of-the-artistic-genius/> [Accessed 19 May 2021].
The idea of the artistic ‘genius’, it’s effect on the artist and the way we value art: A study of Leonardo da Vinci, Pablo Picasso and Vincent Van Gogh.
Fig 3 –Line-drawing by Pablo Picasso.
Pablo Picasso is another instantly recognizable name, not only in the art world but among the general public. He has been described as one of the most influential artists of the 20th century,8 but it is clear that a significant portion of this can be attributed to the mythology around his character. This is best represented in the fact that much Picassos fame is a result of his creation of cubism while it’s less charismatic cocreator, Georges Braque is not nearly as well-known. Another interesting example is that some say that the periods of his art are better described through events in his personal life, for example, referring to his ‘surrealist period’ as his ‘MarieTherese period’,9 so named for the 17 year old girl who was his mistress when he was 34 – also noteworthy is that his status grants him a certain amnesty to this kind of questionable behaviour.
Picasso, much like da Vinci, was born into a position of privilege. Not only was he a white male but his father was a professor of drawing, 10 in addition to this he was able to follow the art scene around the cultural capitals of Europe throughout his life and was constantly surrounded by people of influence. The renaissance was the first time that artists personalities were ranked above their art and this idea of individualism was mirrored in 19th century romanticism.11 It’s interesting that both da Vinci and Picasso where products of these eras, as well as this they shared a privilege that was undoubtedly essential to their eventual prominence. However, one could argue that da Vinci’s - and other artists of the renaissance’s - scholarly nature contributed to the creation of the modern concept of the genius, where contemporary artists like Picasso may have simply taken advantage of it. Van Gogh, unlike my other examples, never enjoyed popularity while he lived. Although his capacity for conveying emotion through paintings was exemplary, it was published letters to his family and associates, which gave detailed insight into his personal struggle with mental illness, that generated a popular interest in his work.12 This fetishization of mental illness in the art world is a further product of individualism made popular during the romantic period. Not only has the association been made between genius and mental illness, but a glorification of insanity as a provider of, “access to profound
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Fig 4 – Self-portrait by Vincent Van Gogh
Marilyn McCully, "Pablo Picasso | Biography, Cubism, Famous Paintings, Guernica, & Facts", Encyclopedia Britannica, 1998 <https://www.britannica.com/biography/Pablo-Picasso> [Accessed 19 May 2021]. 9 Elinor Gadon, "Picasso And The Minotaur", India International Centre Quarterly, 30.1 (2003), 21 <https://www.jstor.org/stable/23005839> [Accessed 18 May 2021]. 10 Marilyn McCully, "Pablo Picasso | Biography, Cubism, Famous Paintings, Guernica, & Facts", Encyclopedia Britannica, 1998 <https://www.britannica.com/biography/Pablo-Picasso> [Accessed 19 May 2021]. 11 Rudolf Wittkower, "Individualism In Art And Artists: A Renaissance Problem", Journal Of The History Of Ideas, 22.3 (1961), 291 <https://doi.org/10.2307/2708126>. 12 The Editors of Encyclopedia Britannica, "Vincent Van Gogh | Biography, Art, & Facts", Encyclopedia Britannica, 1999 <https://www.britannica.com/biography/Vincent-van-Gogh> [Accessed 19 May 2021].
The idea of the artistic ‘genius’, it’s effect on the artist and the way we value art: A study of Leonardo da Vinci, Pablo Picasso and Vincent Van Gogh. truths”.13 This has even been supported by medical journals as late as the 1980’s.14 The danger of this association is demonstrated in the case of Léona Camille Ghislaine Delacourt, who was provoked into a psychotic break by surrealist theorist, André Breton, so that he could study her for his book “Nadja”.15 It seems to me that there is no valid measure for what constitutes a genius because geniuses do not exist, except as a subjective title awarded by a certain party. It may be that so many people have tried to define the term because of a longing for something this fantastic to be true, real life heroes with powers of comprehension far beyond the reach of any normal person. However, while this concept may be entertaining, it has existed only to serve those in positions of extreme privilege, perpetuating the idea of white, male superiority by excluding everyone else. In Fig 2 – Drawing by Léona addition the pursuit of achieving genius has undoubtedly Camille Ghislaine Delacourt contributed to the mental decline of a number of artists. In my from the book: “Nadja” opinion, the terms harmful associations of poor mental health and white, male dominance are so engrained in its characterization that to change it’s meaning for the better is a hopeless task and it’s eradication from the art world and society as a whole is the only way we will ever be able to offer future artists an equal chance at success and recognition.
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Allan Beveridge, "A Disquieting Feeling Of Strangeness?: The Art Of The Mentally Ill", Journal Of The Royal Society Of Medicine, 94.11 (2001), 595 <https://doi.org/10.1177/014107680109401115>. 14 Edward Hare, "Creativity And Mental Illness.", British Medical Journal, 295.6613 (1987), 1587-1589 <https://www.jstor.org/stable/29529224> [Accessed 18 May 2021]. 15 Allan Beveridge, "A Disquieting Feeling Of Strangeness?: The Art Of The Mentally Ill", Journal Of The Royal Society Of Medicine, 94.11 (2001), 597 <https://doi.org/10.1177/014107680109401115>.
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