Download e-book for kindle: 1913: The Cradle of Modernism by Jean-Michael Rabaté

By Jean-Michael Rabaté

ISBN-10: 0470691476

ISBN-13: 9780470691472

ISBN-10: 0470766417

ISBN-13: 9780470766415

ISBN-10: 140515117X

ISBN-13: 9781405151177

ISBN-10: 1405161922

ISBN-13: 9781405161923

This leading edge ebook places modernist literature in its cultural, highbrow, and international context, in the framework of the 12 months 1913.Broadens the research of canonical texts and creative occasions via displaying their cultural and worldwide parallels Examines a couple of simultaneous inventive, literary, and political endeavours together with these of Yeats, Pound, Joyce, Du Bois and Stravinsky Explores Pound's Personae subsequent to Apollinaire's Alcools and Rilke's Spanish Trilogy, Edith Wharton's The customized of the rustic subsequent to Proust's Swann's approach

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Extra resources for 1913: The Cradle of Modernism

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This idea convinced Virginia Woolf, who forgot what she had learnt from Manet, Cézanne, and the post-impressionists. 27 She praises the tangible materiality of Sickert’s colors in his paintings devoted to Venice: “We long to lay hands on his clouds and his pinnacles; to feel his columns round and his pillars hard beneath our touch. 29 Even objects or buildings betray traces of humanity, a humanity that surges forth also in landscapes. ” Woolf applies the principle that “it is difficult to look at them and not invent a plot”30 to one of Sickert’s most celebrated paintings, the 1913 Ennui.

He aimed at mixing the high and the low, the homely and the theatrical. Building on Degas’ fascination for dancers, seamstresses, and street scenes, he took this to an extreme by insisting on a certain realism, at least in so far as painting was supposed to keep a concern for intelligibility by remaining a narrative art. Draftsmanship was crucial to judge a painter’s training, and Sickert felt that Picasso, Matisse, and Lewis were cutting corners. Degas remained the model in all the aspects of the craft of painting.

They are buried under an avalanche of rubbish. In the street beneath, the trams are squeaking, children are shrieking. Even now someone is tapping his glass impatiently on the bar counter. She will have to bestir herself; to pull her heavy, indolent body together and go and serve him. 31 This reverie on the dreariness of life presupposes that the couple own a pub and have retired upstairs momentarily. The model for the older “publican” was Hubby, a reformed alcoholic; if the huge glass on the table was filled with water, one understands his taedium vitae.

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1913: The Cradle of Modernism by Jean-Michael Rabaté

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