For this writing, we have chosen to present to you in a few lines Zaidel’s article
published in 2009. We would first like to highlight the key points of this article that appear to
us directly related to our field of study: neuropsychology.
Subsequently, we will deal more with our reflection, which will consist in questioning the links
between these discoveries and the caring for patients suffering from brain damage.
The article we studied discusses the links between brain and art, and more precisely
between neuroanatomy and art. First of all, the authors recall that art represents what
language alone doesn’t allow, indeed, art can be used as a true communication system. In
human societies, art takes different forms such as painting, sculptures, dance, song, poetry,
etc. Its greatest particularity would be that it doesn’t exist in animals, it’s a unique human
activity that works with cognition. In the article we learn that there are three fields of study
which correspond to three cerebral theories of art :
- Theory of cerebral regions
- Biologist theory
- Evolutionary theory
Each one has its own explanation of the link between art and brain. The first suggests that
art involves specific pathways and regions of activation for his practice. Then, in the second
one, art would be linked to a motivation of seduction and selection of a new partner. Finally
the evolutionary theory of art is based on the idea that art has induced crucial brain changes
in humans. To prove those theories, and above all the first one, many studies are interested
today in the neuroanatomical bases involved in the practice of art. Their goal is to answer
this question : Can art be localized in a specific brain region such as language ?
Well, as you can imagine, the answer is no, indeed, art seems to be a multiprocess
depending on several regions of the brain. But how to justify these claims ?
Actually, a lot of progress has been made, in particular thanks to the testimonies of
brain-injured artists who continue to practice their passion even after the damages. Studies
show that artists continue their production regardless of the laterality of the damage, which
means that no specific region can be exclusively linked to the art. Art would therefore be
dependent on several cerebral regions rather than just one brain hemisphere, region or
pathway. Moreover, in the case of neurodegenerative diseases such as Alzheimer’s disease
or Parkinson, artists can continue to produce up to advanced stages of the disease. The
study of all those individual cases is therefore essential in understanding the links between
art and the brain. What we can remember from this article is that art is a complex system
that is supported by large regions of the brain that are highly resistant to brain damage.
Researchers therefore wonder about the existence of a possible resistance among artists
with cognitive and perceptual deficits compared to non-artist individuals.
Following the reading of this article we were able to start a discussion on the interest
of these new knowledge in our future practice. From our point of view, these advances
appear essential in understanding the cerebral functioning of brain injury patients and they
open up perspectives for psychological and neuropsychological care.
The organization “Fragile Suisse” has taken an interest in articles giving similar
conclusions and is now trying to raise public awareness of the stakes of this practice of art.
Their operation is simple: make known and put forward the production of injured cerebral
artists by exhibiting their paintings, sculptures, drawings or even their photographs. For
them, regardless of whether the brain damage was present before or after the beginning of
this art practice, their goal is to encourage these artists to experience art. To carry out this
mission, the organization is, for instance, organizing a major art exhibition called
“INVISIBLE” which will take place in May 2022 in Bern.
Such involvement brings hope in the care of brain injured people, art would thus become a
real therapeutic issue. To clarify its interests we conducted a reflection which allows us to
highlight two arguments on this practice :
- art appears as a means of expression, especially when the brain injured person has
an impairment of his language areas and finds himself having difficulty
communicating - art is a real stimulus tool since it involves all brain regions
In conclusion, it appears that all professionals involved in the care process for injured
cerebral patients should cultivate an interest in developing their knowledge on the subject.
As future psychologists, we both think that the practice of art therapy should be part of our
formation and we want to train ourselves to optimize our care and properly support our
patients.
Words we have learned:
- advanced stages = stades avancés
- a testimony = un témoignage
- Properly = correctement
- Brain damage = lésion cérébrale
- To raise someone awareness of something = sensibiliser quelqu’un à quelque chose
Reference:
Zaidel, D. W. (2010). Art and brain : insights from neuropsychology, biology and evolution.
Journal of Anatomy, 216(2), 177‑183. https://doi.org/10.1111/j.1469-7580.2009.01099.x