Word: poetes
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Dates: during 1990-1999
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After he finished, Kinnell nswered questions on his methods of writing, his fascination with Emily Dickinson and why he chose to teach in Iran, one of the many places the poet has lived...
...kind of ennui auguste by the time they come to the end of the exhibition. But this has always been part of the experience of scaling Mount Poussin. "Some people blame him for having gone a little too far in his austere and precise manner," wrote the poet Charles Perrault in 1700, "but others maintain that these defects are nothing other than beauties which are a little too great for unaccustomed eyes." Among those "others" have been most of the best French artists of the past two centuries -- not only the classicists like Ingres, for whom Poussin's lucidity...
...Poussin spent most of his life. Born in Normandy in 1594 (his father was a military officer, his mother an alderman's daughter), he was educated, probably by Jesuits, in Paris, and turned to painting before he was 20. A chance encounter with Giambattista Marino, the floridly precious Neapolitan poet who had taken political asylum at the Paris court of Marie de Medicis, led to introductions in Rome, and he went there in 1624. From then until his death in 1665, Poussin returned to France only once, for a brief two years (1640-42), during which Louis XIII tried...
...pressure of both mystery and reality that makes Poussin so unacademic. He was an idealist. The world he painted, in all its mythographic richness, was not fallen. Neither sin nor decay was part of it. The young man in The Inspiration of the Poet, circa 1631, glancing upward while the imperious hand of Apollo redirects his attention to the text in his hand and the muse Calliope gives him a level look of benign assessment, might as well be Poussin himself. The allegory unfolds in a luminous calm but is grounded by discreet observation: the relaxed pose of Apollo...
...process of reevaluation of common American cultural forms occurs throughout Cultures and Contexts. Amidst representations of the Civil War, society matrons, industrial culture, bric-a-brac, the American flag and landscapes, Emily Dickinson's childhood sewing sampler attracts attention. The poet's infant stitches are paired with a work by contemporary text artist Jenny Holzer entitled, "Don't Talk Down to Me..." Holzer's sampler-inspired ultimatum for respect, spoken presumably by a woman, inspires comparisons to the changing role of women in American culture. Dickinson's deceptively archaic sampler, fading with age, reminds us of all that...