Vision Loss and Hearing Loss in Painting and Musical Composition

• Published in: Ophthalmology (Rochester, Minn.) Vol. 121; no. 7; pp. 1480 - 1485
• Main Author: Marmor, Michael F., MD
• Format: Journal Article
• Language: English
• Published: United States Elsevier Inc 01.07.2014
• Subjects: Famous Persons; Hearing Loss - history; History, 17th Century; History, 18th Century; History, 19th Century; History, 20th Century; Humans; Music - history; Ophthalmology; Paintings - history; Persons With Hearing Impairments - history; Vision, Low - history; Visually Impaired Persons - history
• ISSN: 0161-6420; 1549-4713
• DOI: 10.1016/j.ophtha.2014.01.009

This article considers the impact of vision and hearing loss on great painters and musical composers. The visual work of Mary Cassatt, Georgia O'Keeffe, Edgar Degas, and Claude Monet all showed alterations as their vision failed. In contrast, Gabriel Fauré, Bedřich Smetana, and Ludwig von Beethoven wrote many of their best compositions while totally deaf, and Georg Friedrich Handel and Frederick Delius struggled to compose late in life when they lost their vision (although their hearing remained excellent). There are 2 major distinctions between the role of vision and hearing for these artistic disciplines. First, there is a surrogate means of “hearing” music, through the musical score, which allows composers to write and edit music while totally deaf. The greatest problem with deafness for a skilled composer is interference from internal noise (tinnitus). There is no surrogate for vision to allow a painter to work when the subject is a blur or the colors on the canvas cannot be distinguished. Second, although the appreciation of art is visual and that of music is auditory, the transcription of both art and musical composition is visual. Thus, visual loss does pose a problem for a composer accustomed to working with good sight, because it disrupts habitual methods of writing and editing music.