Concerning Hitler, this maybe of interest:
--Frederic Spotts, Hitler and the Power of Aesthetics pg.92-93The feminine side of his character, labeled 'bohemian', 'intuitive' and 'artistic', was obvious to those who knew him. Otto Dietrich put it this way: 'By nature Hitler was a bohemian. He allowed himself to be guided almost exclusively by emotional considerations...He often said that a single brilliant idea was more valuable than a whole lifetime of conscientious office work.'
Even the uncritical Below had to admit being befuddled by his Führer's manifest contradictions. In his opinion, Hitler was victim of two conflicting drives. On the one hand he was an artist, with the artist's love of freedom and his reliance on intuition and inspiration. On the other hand he believed, like Rienzi, that he had no choice but to sacrifice himself to save his fatherland. The aesthetic impulse, Below maintained, could never be reconciled with the demands of state. Fritz Wiedemann put it less poetically. Hitler, he said, liked to believe that 'problems resolve themselves', and he therefore simp;y let troublesome matters slide. In any case with the passage of time these various characteristics became more pronounced. 'The surer Hitler felt in the possession of power,' according to Fest, 'the more conspicuously his old bohemian traits came to the fore, his laspes into torpor, his moodiness.' The point was repeatedly confirmed in Goebbel's diaries. Far from being the invariably firm, decisive dictator that he appeared publicly to be, Hitler could often be a dilatory and wavering leader.