Madness, modernity and those 'nervous times': Vienna in 1900Madness, modernity and those 'nervous times': Vienna in 1900
All In The Mind
Journey to Vienna at the turn of the 20th century and discover the 'city of the psyche' at the centre of Modernism. Described as 'nervous times', anxieties about the alienation of modern urban life inspired a cultural ferment between artists, architects and psychiatrists. From utopian visions of the asylum to the birth of the 'psychological portrait' and 'nerve art', the life of the mind lies at the heart of the story. Image gallery
29:27•25 Jul 2009
Nerves, Madness and Modern Minds: Vienna 1900 Revisited
Episode Overview
- Modern Vienna is portrayed as a place where mental illness is seen as a product of urban stress, new technologies and substances like alcohol and caffeine.
- Freud’s focus on inner psychic life is contrasted with mainstream psychiatry’s emphasis on bodies, light, air, exercise and rural surroundings.
- Architect Otto Wagner’s Steinhof hospital embodied utopian ideas about rational spaces and specialised treatments for nervous and addicted patients.
- Artists such as Egon Schiele and Oskar Kokoschka used distorted bodies and psychological portraits to signal modern nervousness and instability.
- The patient-artist Josef Karl Raedler’s rediscovered watercolours highlight dignity, identity and the neglected creative lives of institutionalised people.
“"When modernism says man, it means the nerves."”
What drives someone to seek a life less "nervous" in a city that seems wired to the hilt? This episode heads to Vienna around 1900, a place described as a "city of the psyche" and gripped by anxieties about modern urban life, caffeine, alcohol, cigarettes and the sheer speed of change.
Art historian Dr Gemma Blackshaw guides Natasha Mitchell through the Wellcome Trust exhibition *Madness and Modernity*, unpacking how architects, artists and psychiatrists all fixated on the mind and the nerves. You’ll hear how mental illness was framed as a distinctly modern condition, with "modern times" said to stress the "modern nervous system". One critic even claimed, "when modernism says man, it means the nerves".
Instead of focusing only on Freud, the conversation contrasts his private consulting room and couch with mainstream psychiatry’s obsession with bodies, light, air and exercise. There’s the grim 18th-century "tower of fools" beside Otto Wagner’s utopian Steinhof psychiatric hospital, marketed to fee-paying "nervous" clients with indoor swimming pools, electrotherapy, hydrotherapy and mechanotherapy for bodies "too tired out from alcohol and caffeine".
Gemma and Natasha walk through unsettling medical images, electrotherapeutic cages and green-velvet exercise machines, then move into the artistic response: Egon Schiele’s contorted self-portraits, Oskar Kokoschka’s harsh psychological portraits and the idea that nervous disorders could be a creative spark. They also tackle the ethical tension between psychiatrists’ urge to categorise and artists’ tendency to romanticise distress.
The episode closes with the moving work of patient-artist Josef Karl Raedler, who spent decades in an institution painting meticulous portraits of fellow residents and writing cheeky inscriptions like "Are these men mentally ill? Do you maintain every person's dignity?" His watercolours, once discarded, now ask hard questions about who gets seen and valued.
If you’ve ever wondered how ideas about nerves, madness and modernity shaped our attitudes to mental illness and addiction, this trip to Vienna might leave you thinking about your own "nervous times" in a new way.

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