Physiological & Psychological Perspectives

As I was reading the Australian Pipeline yesterday morning, I came across an advertisement for an exhibition. This exhibition has been sweeping the country and leaving art followers in awe. The exhibition is entitled, George Lambert Retrospective: Heroes and Icons. George Lambert is one of Australia’s most brilliant and influential artists. He was a versatile artist and possessed a broader scope than anyone of his time. His paintings are controversial and can be found in numerous Australian museums. The exhibition will feature 110 works during a course of fifty years and will consist of,

“his Australian bush subjects to his Edwardian portraits and figure groups, from his sparkling oil sketches to his major battle paintings and large sculpture” (34).

George Lambert is truly a master of the pencil, pen, and paint. He is noted for his easygoingness and sensitive nature. However, his wife remembers him a little bit differently. She considers his flamboyant personality as a mask to cover up his sadness. One painting, according to Anne Gray, that portrays this disguise is Chesham Street which was painted in 1910.

This painting, as the title of this post portrays, has both a physiological and psychological perspective. Anne Gray, the author of George Lambert retrospective: heroes and icons, describes the psychological perspective. While Thomas A Faunce, author of Nurturing Personal and Professional Conscience in an Age of Corporate Globalisation: Bill Viola’s The Passions, attributes the painting to the medical humanities via the physiological perspective.

The man in the painting with his chest exposed is George Lambert himself. I have seen this painting numerous times, but I never knew it was Lambert! Gray believes the man himself, George Lambert, is an enigma. She explains that the painting “invites us to provide our own interpretation” (34). However, Thomas Faunce believes otherwise. He believes that this painting can be used strictly for medical students as they evaluate the human body. As Gray makes an analysis, she draws attention to the completely exposed torso while his face is aimed upwards. The man in the painting appears to have nothing to hide which is drawn from the fact that he is literally and metaphorically baring his chest. By exposing his chest he is opening his heart and soul to the world. However, many objected to his flamboyant appeal, believing he struggled more than he led people to think.

Thomas A. Faunce presents another perspective in his article pertaining to medical humanities. The majority of his article “explores the ‘norms’ or principles of bioethics, health law and international human rights is central to personal and professional development courses of contemporary medical schools.” The Australian National University Medical School takes a unique approach when administrating to their students. The university encourages its students to use consistent and practical application throughout a medical career, despite personal, collegial and institutional obstacles. One example of this approach is the requirement that students must study fine art.

“In addition to using selected online resources and nominated experts, the students are required to incorporate in their presentations imaginative insights and arousals of conscience gained from examples of fine art, including visiting a nominated work of art at the National Gallery of Australia.”

George Lambert’s Chesham Street is one of the pieces used for interpretation. However, the interpretation greatly differs from Anne Gray’s. This physiological perspective deals with Lambert’s torso as a functioning part of anatomy. This painting, in the perspective of medical students, can be compared to Leonardo Da Vinci’s drawings of the human body. In addition, the man in the front could be a doctor evaluating Lambert’s physical health. The doctor is more interested in his physical state rather than his mental state.

I believe both of these perspectives are well supported. However, I find the first perspective more interesting. George Lambert’s wife, Amy, agreed that Lambert’s “theatricality and love of laughter” was a mask behind which he hid his sadness. The second perspective has a more literal meaning, but is still a possible explanation. I just find it hard to believe that George Lambert, being the genius that he is, would use himself in a painting to portray a doctor visit.

Gray, A. George Lambert retrospective: heroes and icons. Artonview no. 49 (Autumn 2007) p. 34-5

Faunce, Thomas. Nurturing personal and professional conscience in an age of corporate globalisation: Bill Viola’s The Passions. Medical Education – Personal Perspective. MJA. Volume 183 Number 11/12. 5/19 December 2005 pp 599-601.