Bird Platters by Dwo Wen Chen.

Art is integrated into the Mayo Clinic environment. Since the original Mayo Clinic Building was finished in 1914, many pieces have been donated or commissioned for patients and staff to enjoy. Each issue of Mayo Clinic Proceedings features a work of art (as interpreted by the author) that is displayed in a building or on the grounds of Mayo Clinic campuses.

An essay on the Charcot and Richer hysteria: from charcoal drawings to cell phones.

Hysteria, previously also known as the disease of the womb, has moved from being a woman's illness through the medieval times' stigma of demonic possession, to the modern concept of a functional neurological disorder. Interestingly to the present assay, Charcot (1825-1893) and Richer (1849-1933) described, in their 1887 work Les Démoniaques dans l'art, by means of iconography, semiological aspects of the so-called Grande Attaque Hystérique, which resembles features of psychogenic nonepileptic seizures emulating grand mal epileptic seizures. The aim of the present assay is to describe how those charcoal iconographic representations evolved through history and are nowadays portrayed in videos recorded at epilepsy monitoring units and patients' cell phones.

Histeria, previamente também conhecida como a doença do útero, passou de uma doença feminina, pelo estigma de possessão demoníaca ao longo dos tempos medievais, até o conceito moderno de um distúrbio neurológico funcional. Curiosamente para o presente ensaio, Charcot (1825­1893) e Richer (1849­1933) descreveram, em sua obra Les Démoniaques dans l'art, de 1887, por meio da iconografia, aspectos semiológicos do chamado Grande Attaque Hystérique, que se assemelha às características de crises não epilépticas psicogênicas que emulam crises epilépticas do tipo grande mal. O objetivo deste ensaio é descrever como essas representações iconográficas evoluíram ao longo da história e são retratadas nos dias de hoje em vídeos gravados em unidades de monitoramento de epilepsia e nos celulares de pacientes.

Picasso's Science and Charity and the evolution of the medical art.

The present article reflects on the evolution of clinical medicine throughout time by commenting on Picasso's painting Science and Charity (1897) through a biomedical lens. The two souls of medicine, namely the cold scientific one and the compassionate one, are examined in their dichotomy and their relationship with today's concepts of cure and well-being.

Umbra RM8, 2013 by Laura Crehuet Berman.

Art is integrated into the Mayo Clinic environment. Since the original Mayo Clinic Building was finished in 1914, many pieces have been donated or commissioned for patients and staff to enjoy. Each issue of Mayo Clinic Proceedings features a work of art (as interpreted by the author) that is displayed in a building or on the grounds of Mayo Clinic campuses.

What Did the Ideal Beauty of the 15th Century Look Like? An Anthropometric Analysis of Botticelli Portraits.

The aim of this study was to conduct an anthropometric analysis of the 5 portraits painted by Botticelli that depict Simonetta Vespucci. Five images in the Simonetta series by Botticelli workshop were measured. The anthropometric measurements of the face included 22 parameters on the lateral view (in 4 portraits; 18 distances and 4 angles) and 17 distances on the frontal view (in one portrait), which were measured using Adobe Photoshop. The absolute distances were calculated relative to the vertical corneal diameter (10.6 mm), which was calculated by multiplying the distance from the pupil's center to the lower margin of the iris. In the lateral faces, the nasofrontal angle (g-n-prn) was 157.6±2.4 degrees, and the nasal tip angle (n-prn-sn) was 99.7±3.4 degrees. The nasolabial angle (prn-sn-ls) was 125.7±4.9 degrees, and the labiomental angle (li-sl-pg) was 131.6±4.4 degrees. The ratio of the upper lip height to the lower lip height (sn-sto/sto-sl) was 85.4±9.0%. The ratio of the upper lip vermillion to the upper lip height (ls-sto/sn-sto) was 27.7±3.9%. The ratio of the lower lip vermillion to the lower lip height (sto-li/sto-sl) was 47.2±6.6%. Comparing the data with 21st-century Italian females, forehead II height (tr-n), physiognomical face height (tr-gn), and morphologic face height (n-gn) of the beauties of the 15th century were significantly greater than those of 21st-century Italian females. However, there were no significant differences in lower face height (sn-gn) and nose height (n-sn). Considering the ongoing cultural relevance of Renaissance art, the esthetic proportions from this study may have reflection to the present day plastic surgery.

What can art history offer medical humanities?

This article charts the emergence of visual medical humanities as a space of academic research, creative practice and lively critical debate, with a focus on how art historical scholarship has influenced the field's formation. Concentrating on developments over the past decade, it offers an overview of current scholarship while highlighting opportunities and challenges for the future. We begin with a survey of medical and health humanities handbooks and readers, noting that their engagement with art and visual culture is predominately limited to the contexts of therapy, clinical pedagogy and medical history. The main part of the article explores art historical scholarship in relation to three areas of significance for the medical humanities. First, we address art historical research that engages with medical history, identifying major topoi including the anatomical body, the doctor-patient encounter and the close relationship between clinical and artistic vision; we argue that this work has tended to presume, rather than explicitly articulate, its relationship to medical humanities and recommend that art historians wishing to engage more deeply with the medical humanities need to clearly communicate what their work brings to wider debates in the field. Second, we explore contemporary arts practices that mobilise health-related experiences, forms of care and practical activism: medical humanities, we argue, has much to gain from a critical engagement with contemporary (as well as historical) art. Third, we review three art history-led projects that are redefining the field and promoting new models for collaborative 'entanglement' across disciplines: Art HX: Visual and Medical Legacies of British Colonialism; Visualizing the Virus; and Confabulations: Art Practice, Art History, Critical Medical Humanities By arguing for the vital importance of attending to the critical complexities of art and visual culture, this article aims to enrich existing debates and provoke a new wave of visually engaged medical humanities scholarship.