...It is possible to distinguish three directions of research in the psycho-analysis of art. The first one is the most well known. It is the psychobiography which consists in interpreting a work with regard to the artist's life who created it, and, beginning from his childhood, that is to say, with regard to his life's risks since he was born ...

...The second direction of research in the psycho-analysis of art consists in the analisys of the works. This exercise is closer to the clinical practice than the psychobiography is...

...Because, in this case, it is not a matter of making use of a work in order to say what it is thought about an artist, but to compare oneself with an enigma - why did this work attract my attention? In order to try to get and live better what it hides and at the same time what it reveals...

...The third direction of research in the psycho-analysis of art is of recent date. This one owes very much to English and French developments and to the psychoanalysis of the last ten year period, in particular to Anton Ehrenzweig in England and Didier Anzieu in France. It is still the closest to the clinical practice and in particular way to Jungian practice, because it is a matter of an analisys of the creation processes...

...Here is a woman, she is sitting down, her head is supported by her arm, quite stretched, her body covered by white dresses creates the diagonal in the picture, a diagonal barred by a stick which is hold by her left hand. A man is going forward or he stands in front of her, he has a ivy crown on his head, he is bringing the quiver of the hunter and wearing a fur. In the background there are a young man who is smiling and playing the syringa, a basket full of fruit, a hind that suckles a child, an eagle, a lion and a young winged woman whose stretched arm takes again to the hind that suckles the child.

...And now we perceive, feel the suspense, the suspense that this scene, which we think to be banal, creates - the suspense and the apprehension of a wished meeting, imminent and clearly hanging. So the glance remembers, it remembers the gestures, the compositions of similar structures in the art of that time. So, as I also thought, the inhabitants of Campania of that time could remember. At least those who overcome the literal sense of the mythological illustration, of a such scene, so as its immediate political sense. Those who knew the pleasure and the interest which one feels in the associations and amplifications which live in the eyes which meet a work.