Formation and Development of the Iconography of the Mesmeric Seance in the Second Half of the 18th — Late 19th Centuries

Abstract

Analyzing the evolution of the iconography of such a phenomenon as mesmerism in the second half of the 18th — mid-19th centuries, the author shows that the scenario of modern hypnotic representation and its gestures were established by mesmerists in the second half of the 18th century, followers of the parascientific theory that caused discussions and intrigued doctors and artists for centuries. Analyzing the development of the iconography of mesmeric seance, the author identifies two waves of popularity of this subject: the first wave in the 70–80s of the 18th century and the second wave during the first decade of the 19th century and beginning of the 20th century. Such a duration is due to the fascination with the supernatural and inexplicable, reflected in various styles and trends. In this article, the author tries to show how the development of the iconography of the mesmeric seance provoked the appearance of the hypnotist or magician trickster, who became integrated into popular culture that later began to mark the majority of hypnotic actions, spiritualistic sessions or miracle shows. The author also illustrates how the image of a “controller” in the face of a man formed and confirmed the paradigm of a powerless, mysterious and controlled woman. As a result, it is concluded that hypnosis and mesmerism became common theatrical spectacles in the 20th century, cultivating the power of men (patriarchal society) over an exhausted woman, which is reflected in the works of Georges Méliès, Alfred Hitchcock, and even in the comic book Wonder woman.

Keywords:

gender studies, French art, mesmerism, Charcot, principle of visual analogy, repressed image, somnambulism, spiritism, hypnotist