Nevertheless, as a spontaneous and absent-minded form of drawing, doodling was regarded from an essentially egalitarian perspective: most people, whether they thought of themselves as creative or not, did it on the side (literally, in the margins), during meetings or lectures, or while on the phone, and any ulterior meaning it might have was largely unintentional. The term ‘doodle’ seems to have emerged in the mid 1920s, and within a decade had become something like a fad, with an expanding interest in the reproduction and ‘analysis’ of celebrity doodles (eg ‘Everybody’s Pixilated’ by Russell Arundel 1937). Of course marginal drawings in manuscripts and books have a longer history, though we can only guess at what prompted them but the doodle has a specifically modern psychological slant to it. There are a number of possible reasons for this: the spread of literacy and the bureaucracy associated with it, the emergence of graphology (at its peak in the early 20th century), the diffusion of psychoanalytic ideas about free-association and unconscious thought, and an interest-half admiring, half malicious-in the careless drawing of celebrities (politicians, actors, writers). ![]() ![]() Pierre Alechinsky, La Jeune Fille et la Mort (1966-1967)Īlthough the doodle is treated as if it were a natural, spontaneous and universal phenomenon, it is in fact an invention, a concept that emerged at a certain point and rapidly became extremely popular.
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