On the relationship of poetry and painting in China | poetry of China
the history of these relationships. The relationship between the written word and the visual arts is a complex one that is demonstrated through visual poetry and. Traditionally the vocabulary of poetry has been taught in a vacuum. meaning of detail, are inherent characteristics of the process of poet and artist alike. . A formal delineation of the difference between metaphor and symbol is not included. Stevens first delivered “Relations Between Poetry and Painting” as a lecture at New York's Metropolitan Museum of Art in In this piece.
One painting in particular haunted me. It had been given to us by a young Guyanese artist, Keith Khan.
Wallace Stevens: The Problems of Painters and Poets
I remembered its mysterious serenity, its warm background colours, the figure rising like a sphinx from the blue ruins of a wall. Although on visits home I looked for it several times, it wasn't until seven years ago that I finally found it, behind a bedstead in our old family home.
I brought it back with me to England, where it attests to the power of art to haunt us, to stick in the memory and nourish the spirit. The ability of the artist to transmute paints into forms, shapes and feelings has always been a source of wonder to me. Equally fascinating is the interplay between art-forms - the way poetry, sculpture, music and painting relate to each other. I feel the relationship between painting and poetry is a particularly close one.
Both come out of a desire to make something new of the familiar, to capture an experience in a living, concentrated way. Both share a harmony, structure, colour and rhythm; in the compositional balance of a painting, one can almost speak of one colour "rhyming" with another. A few years ago I was invited to be poet-in-residence at the Tate Gallery now Tate Britain by the then-visual arts director, Colin Grigg.
Poetry and Paintings: A Comparative Study
The residency involved responding to paintings through poetry very appealing as well as conducting some workshops with children from primary schools around London which seemed like work. It proved to be a challenging space to work in: The children who took part in workshops were not in the least overawed by the gallery, or the onlookers.On the Relation of Analytical Psychology to Poetry, by Carl Jung (full audio)
They wrote poems in response to the paintings and - in a spontaneous coming together of written word and visual image - often put a drawing in their pads beside their poems. It was very much like a Chinese painter placing a verse in those vacant spaces that allow Chinese painting to breathe.
For these children, this was the most natural thing in the world. In this sense, early Tennyson had more in common with the Romantics and the Aesthetes than he would have cared to admit in later life.
When the lady looks directly out the window into society, she defies her role as the isolated artist and her art is destroyed: One way in which Tennyson universalizes the subjective emotions in the poem is through their framing by rituals or ceremonies. They rise, but linger, it is late; 6 Farewell, we kiss, and they are gone. And unselfish people are colourless.
- If a painting could talk ...
- On the relationship of poetry and painting in China
Art never expresses anything but itself! Foucault champions this kind of authorial unaccountability in Archaeology of Knowledge: I am no doubt not the only one who writes in order to have no face.
If a painting could talk | Art and design | The Guardian
Do not ask me who I am and do not ask me to remain the same: At least spare us their morality when we write. And Tennyson had obliged by flipping on all the spigots and filling the tankards with blank verse about King Arthur Kohl It endures because it is a symbol of not only repressed sexuality, but of the hidden desires and secret longings to which all readers can relate. To return to our opening question: It means not only to leave an indelible mark on the society in which they wrote, but to surpass time so that their work has continued relevance through the centuries.
Yet, art is not static: The Picture of Dorian Gray. The New York Times.
Edinburgh University Press, The Reaction Against Tennyson. Oxford University Press, The History of Sexuality. The Writings of Arthur Hallam.