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- W2084057448 abstract "The public and our patients, especially those seeking cosmetic surgery, want reassurance by believing that all plastic surgeons are artists. For some, not myself, that assumption is true. I remember taking a course many years ago at a national meeting. The instructor, whose name I have forgotten, said something I have not forgotten: “Always have a blackboard and chalk in your office. Your patients will be impressed when you draw a picture of what their nose will look like after operation [approximate quote].” If I had followed that advice, I would never have done a rhinoplasty. Patients would have fled, fearing that I might have produced what I had drawn. In my defense, I do have an aesthetic sense, rudimentary, I confess, compared with my wife’s. I am able to recognize when something looks wrong at operation, but even when I think I have succeeded in making it appear better or right, the result is not always what the patient and I desired. Most of us have heard the common question: “Doctor, do you paint (or sculpt) in your spare time?” Faced with that query, I reluctantly admit that I do not, but I add that I like art very much. At those moments, I wish I were wearing a beret and a paint-spotted frock. A colleague whose name I will not divulge kept in his office unsigned sketches and statues, none of which he had created. When patients asked whether he was the artist, he re-plied with a brilliant evasion: “I do dabble from time to time.” He does—in the stock market. Despite not being an artist, not even a surgical artist, I have the fantasy of a posthumous retrospective exhibition of my work. Naturally, I would want only my best results displayed, but since I could not use the patients themselves, I would have to reproduce their likenesses in photographs enhanced, perhaps, through the wizardry of electronic virtual reality. My patients, the equivalent of an artist’s subjects, or their heirs, would have to give their permission. This might prove to be an insurmountable obstacle. In this regard, Rembrandt was fortunate. His sitters wanted the world to know who had done their portraits. They achieved immortality less because of who they were than who their artist was. Although, occasionally, a patient may willingly disclose that he or she has had a cosmetic operation and may even name the plastic surgeon, most do not, preferring secrecy. Like the psychiatrist, the plastic surgeon usually is doomed to anonymity, a fate consistent with the Hippocratic tradition. The reality for most surgeons was understood by Balzac in “The Mass of the Atheist,” in which he uses his contemporary, Dupuytren, as a model for the central character, Desplein, “the greatest of French surgeons.” “. . .they [surgeons] live only so long as they are alive, and their talent leaves no trace when they are gone. . . . [They] . . . are all heroes of a moment. . . .”" @default.
- W2084057448 created "2016-06-24" @default.
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- W2084057448 date "2004-10-01" @default.
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- W2084057448 title "The Plastic Surgeon as an Artist" @default.
- W2084057448 doi "https://doi.org/10.1097/01.prs.0000066012.99511.ea" @default.
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