Poems about art and artists
Art Quotes (6365 quotes)
Art: a poem
Art and Artists: Poems
W hen I left Guyana for England in with my partner and my daughter, we brought most of our books but left all our paintings behind. These were distributed among my brother, sisters and friends for safe-keeping or as gifts. Years later I lamented this, sorely missing these images. One painting in particular haunted me. It had been given to us by a young Guyanese artist, Keith Khan. I remembered its mysterious serenity, its warm background colours, the figure rising like a sphinx from the blue ruins of a wall.
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Poetry has always inspired artists. The Victorian era was the last big hurrah of literature-inspired visual works of art, and it was decidedly gothic in flavour. But the 20 th century saw the death of narrative painting, and illustrations from myth and literature dropped out of fashion. Painters were still influenced by literature, of course, but the influence, with a few notable exceptions, played out in more abstract, nebulous ways. But more often Modernist poets, particularly in America, looked to Modernist artists for inspiration. The conservative Larkin was no fan of Modernism, seeing ugliness and destruction in its methods. Yet for many other writers, Modernism in the visual arts appeared regenerative in its violence to form.
Submit your work, meet writers and drop the ads. Cress Rosario May A Painting. Brushes and paints can do a lot of pictures Images inside his head that was once captured It can speak for a million of smiles It can reveal us thousands of lies Even paintings has its own secrets Hid by the one who passionately paints it If we could dive through that canvas We would know the story he wants to tell us. As an artist and a painter, I want to know unseen stories inside every painters hid in their works.
Expressive poets, from the romantic period to our own, have labored under the double threat of belatedness and solipsism. On the one hand, their work can be seen as a struggle Harold Bloom might term it Oedipal to establish their identities in the shadows, as it were, of strong and influential precursors. At the same time, expressive poets are more or less constantly in danger of falling into a subjectivity that may prove an impenetrable barrier to their readers, and thus into a kind of voluble silence. Writing poems about paintings and other works of visual art has been one means, both of overcoming such subjectivity and at least side-stepping the issue of literary belatedness. Poetry about art is still, of course, belated, but it enjoys a more reassuring metalinguistic relation with its subject. Poets as disparate as Keats, Rilke, Auden, William Carlos Williams, Pound, and Richard Wilbur have used this approach at one time or another, as we shall see with differing emphases and differing senses of the possibilities of the form. Remarkable as many of the poems about art have been, it is equally remarkable that there have not been more of them.