BOOK REVIEFV

In his book. P.s~r.llrtirttcil~ti(, A LY~(C.S to Art, Robert Waelder points out that psychoanalytic studies on creativity have been criticized on the grounds that psychoanalysts are more concerned with genesis than the product. Thus, the child’s scribble can be equated with the most inspired work of the greatest master. Dr. Levick’s book clearly speaks more to the former than to the latter and yet constitutes a most enjoyable, scholarly creation.

The primary focus is on what is revealed by the artistic productions of normal children to the age of 10, and then by those of disturbed children and adults. The understanding of this area is rich and relevant to mental health professionals, par- ents, and educators. Its underpinnings are multi- faceted. encompassing the work of Sigmund and Anna Freud, Jean Piaget, pioneers and leaders in the field of art therapy, and contemporary theorists on imagery and structural developmentalists.

Forewords are provided by Dr. Paul Fink and Dr. Zygmunt Piotrowski and underscore the in- tegrative nature of this volume. Dr. Fink de- scribes Dr. Levick as “an ambassador of inte- gration and a spokesperson for the development of a common language of human development with special emphasis on art as a medium of intel- lectual exchange.” Dr. Levick’s position as a leader in the field and a clinician and teacher of many years experience gives her this scope and understanding.

A description of the development of the field of art therapy is followed by a review of concepts relating defense mechanisms of the ego to stages of development. This is a major aspect of the author’s thesis and one which has not been

emphasized by any other writer in the field. It is a difficult proposition, however. because there is great difference in the literature as to which defense mechanism belongs to which stage. Anna Freud, in T/lcr Ego c~trd Tlrc Mc~c~llrrt1istn.s oj‘ ihji~t~~-c~. stated “classification of the defense mechanisms according to position in time inevi- tably partakes of all the doubt and uncertainty which even today attach to chronological pro- nouncements in analysis. It will probably be best to abandon the attempt so to classify them and, instead, to study in detail the situations wjhich call for the defensive reactions.” Dr. Levick outlines and acknowledges the inconsistencies but concludes that one can reach a consensus on the issue and one which can be applied profitably to the understanding of art productions.

In the next section, a sophisticated and con- temporary understanding of the-current theory enmeshing Piagetian and psychoanalytic con- cepts is juxtaposed with an exposition of the normal developmental progression of drawings in children and the understanding of the relation- ship between language. cognitive processes and visuaf imagery. Hugh Rosen’s exposition of Piaget is used as the basis for the discussion of cognitive development and Dabrowski, Green- span, and Noy, as well as Kellogg. Vygotsky. and Forisha are cited. The work on correlations between visual imagery, language development, and cognitive processes is fascinating.

Inferences drawn from these theorists are most intriguing and relevant to many areas of study. As a child psychiatrist, I would wonder if verbal and imaginal processes develop simulta- neously? Is this different in the severely autistic

16 BOOK REVIEW

where verbal development is often stunted and remains egocentric? Are there different lines of development in the male child versus the female child? How do child rearing practices affect these lines of development? Are they at all culturally dependent’? Does psychotherapy impact more on imagery or verbal and cognitive processes?

The “proof of the pudding,” as an old saying goes, comes, in this case, in the clinical sections where numerous drawings of children are repro- duced along with commentary and observations. We see the theories previously discussed put to work by an experienced clinician. The drawings speak directly to the reader and allow us to “see” in a different way, where the child is. If the artistic production is a language, then Dr. Levick is a fluent interpreter. She leads us first through the drawings of normal children then through the drawings of troubled children and adults.

A cautionary word should be added at this juncture. Assessment of a child or adult is not easy and a complete developmental history, de- scription of current functioning at home and out- side must supplement meetings with a child in- dividually or with the family. A “picture is worth a thousand words” but is not a necessary and

sufficient tool for the adequate characterization of a highly complex individual. Dr. Levick is well aware of this and yet her virtuosity leads one almost to feel that one “knows” the child from the drawings.

Any clmtcian, especially one who works with children who spontaneously produce art produc- tions. will “see” better with a grasp of the prin- ciples and observations stated in this volume. This book is a welcome and unique addition to the literature.

Ellen Harris Sholevar. MD Clinical Assistant Professor

Director, Child/Adolescent Psychiatric Inpatient Unit

Hahnemann University, Philadelphia, Pennsylvania

REFERENCES

FREUD, A. ( 1966) 7-/r(, t‘qo tr/ttl r/f~ .~lcc.l~ctrir.\,rr.\ oJ‘L)<~CN,\C. New York: lnternativnnl Universities Press.

NEIDERLAND. W.. SHOLEVAR, B. (1981) ltfc Cwcili\~c, t’n~.~,.v,\: .-\ f.v?c,tf,,ci,l~,/~ti~, IIi.~c~rc.\icn~. Philadelphia:

Concourse Press. WAELDER. R. (1965) P.,~~i~~,ci,ftrI~tic. .-\r’c’,ruc’.v 10 .4u. Neu,

York: International Universities Press.