The link between medicine, science and art

The relationship is examined through breast cancer images.

Of note is an art exhibition created for women with breast cancer, with an intention to help patients to understand their situation, environment and the procedures that await them.

Orlando, FL – More than one American art critics has said that one of this country’s finest paintings closely resembles a scene from a horror film. The primary subject of the 1875 painting is a physician from Philadelphia. As one critic describes the scene:

(He is) demonstrating an operation for osteomyelitis of the femur in the surgical amphitheater in 1875 in this highly dramatic, powerful scene. Light glints off his forehead, and his visage is stern, calm, and surrounded by a halo of gray-white hair. The bloody fingers of his right hand hold a blood-tipped scalpel. He appears to have just made an incision and is turning away to demonstrate his work.

The physician represented in the painting is Professor Samuel D. Gross of Jefferson Medical College. His methods weren’t cutting edge, even for the nineteenth century. He rejected the lessons from Lister regarding an antiseptic operating environment. No revolutionary theory of medical education was taught in his classes. His eternal fame lies with his portrayal in Thomas Eakins’ “The Gross Clinic,” now hanging at the renowned Philadelphia medical school.

Unfortunately, many of today’s medical school students would not recognize this famous American work nor understand its significance in medicine and art, explained Marek H Dominiczak, MD, PhD, from the Art Science Laboratory, Institute for Art History, University of Glasgow, United Kingdom. For the most part, said Dominiczak, the American medical education system does not teach the links between science and art, or how a painting of a medical scene could play an important role in helping patients cope with an increasingly depersonalized, technical environment of sophisticated hospitals.

Dominiczak, a Scottish physician who combines clinical practice with teaching arts in relation to medicine seeks to strengthen the bond between science, medicine, and the arts. He will address these issues at an upcoming scientific meeting. The goals of his discussion are to outline the historical development of the scientific method, demonstrate the conceptual links between science, medicine and the arts, and debate the significance of these for contemporary practitioners of medicine and science.

“Science, Medicine and Technology in the Arts,” is a presentation that reflects Dr. Dominiczak’s passion, and he will provide insight into the ways that these disciplines interact to during a presentation during the 54th Annual Meeting of the American Association for Clinical Chemistry (AACC). AACC (http://www.aacc.org/) is the scientific organization for clinical laboratory professionals, physicians, and research scientists. Their primary commitment is the understanding of laboratory testing to identify, monitor and treat human disease. More than 11,000 attendees are expected for the meeting, which is being held at the Orange County Convention Center, Orlando, FL, July 28-August 1, 2002.

Dr. Dominiczak will display 29 images of works of art, ranging from 15th century to the contemporary, that demonstrate how the fields of science, medicine, and art can be complementary. One especially noteworthy piece is “The Specimen Examination” by British artist Susan Macfarlane. The piece is part of her series created around the theme of breast cancer. They were painted with the intention to help patients understand their situation, environment and procedures that awaited them.

Ms. Mcfarlane’s intention has turned into a reality. Each year approximately 34,000 women in the United Kingdom are diagnosed with breast cancer. They and others have the opportunity to view Ms. Mcfarlane’s 25 oil paintings plus drawings on the theme of breast cancer in a unique touring art exhibition. One critic states, “The exhibition offers a new concept of communication between the medical world, it's patients and the public at large…. this exhibition depicts intimate and solemn scenes which help to advance a greater understanding of breast cancer care…and de-mystifies clinical practice and reveals a dedication and compassion in the care of patients which deeply moved the artist.”

Dr. Dominiczak’s presentation will address:

• The scientific method and its limitations.
• The ways in which artists have created images of science and learning from the Renaissance to modern times.
• How art has shaped the way world views medicine over the past two millennia.

During this discussion Dominiczak will discuss how science and the arts can be regarded as complementary methods of looking at reality, each with its own advantages and limitations. In order to better understand the processes of healing and sickness, he explained, physicians must bring the scientific and the non-scientific domains closer together in order to perfect their skills and find ways for improving their interactions with patients.

Editor’s note: Reproductions of the following images are being displayed during the presentation:

• Robert Hannah. William Harvey Demonstrating His Experiments On Deer To King Charles I and The Boy Prince. The Royal College of Physicians, London.
• Giovanni Battista Pittoni. An Allegorical Monument to Sir Isaac Newton, 1727-30. Fitzwillima Museum, Cambrdige, UK.
• Joseph Wright of Derby. An Experiment on a Bird in the Air Pump, 1768. Oil on canvas. National Gallery, London.
• Umberto Boccioni. Unique Foms of Continuity in Space.1913. Bronze. Tate Gallery, London
• Susan Macfarlane. Paintings and drawings of breast cancer care. The specimen examination. A Sheeran Lock exhibition. Sheeran Lock Fine Arts Consultants. Hebden Ridge, UK.

Editor’s Note: To schedule an interview with Dr. Dominzak, please contact Donna Krupa at 703.527.7357 (direct dial), 703.967.2751 (cell) or djkrupa1@aol.com.
Or contact the AACC Newsroom at: 407.685.4215.