Název: Selected examples of the dialectic between landscape painting and landscape poetry in Canada (case studies)
Zdrojový dokument: The Central European journal of Canadian studies. 2005, roč. 5, č. [1], s. [101]-109
Rozsah
[101]-109
-
ISSN1213-7715 (print)2336-4556 (online)
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/116019
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
The close relationship between painting and poetry has been long acknowledged by art historians and literary critics alike. It is not by accident that both painters and poets have responded to the specific nature of the variety of Northern landscapes on the Canadian artistic scene as well. Spatial knowledge has always been part and parcel of "Canadian existence", therefore, it serves as a source of inspiration for artistic expression creating moods in the viewers' psychic and mental responses to the environment. The paper focuses on selected works by the Group of Seven comparing them with a random choice of poems. The case studies are thematically arranged. They illustrate how the brushstrokes and their literary equivalents compose themselves into convincing evocations of landscapes.
Le rapport étroit entre peinture et poésie est une évidence depuis longtemps pour des historiens de l'art et des critiques littéraires également. Ce n'est pas un hasard que peintres et poètes réagissent de la même façon aux paysages du Nord du Canada. Le savoir de l'espace faisait toujours partie de "l'existence canadienne" et comme telle serrait de source aux possibilités de l'experission artistique. Ces oeuvres créent une ambiance spéciale pour le public, à sa réaction physique et mentole concernant l'environment. Le présent article est consacré à quelques oeuvres de Group of Seven tout en les comparant à des poèmes choisis arbitrairement. Les études des cos sont groupés thématiquement pour illustrer comment les touches du pinceau et leurs corraspondants littéraires font un ensemble de conception de paysage.
Reference
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[3] Harris, Bess. and G. P. Colgrove. Ed. Lawren Harris. Toronto: MacMillan of Canada, 1969.
[4] Harris, Lawren. Group of Seven Exhibition Catalogue, Art Gallery of Toronto, 1920.
[5] Hill, C. Charles. The Group of Seven: Art for a Nation. Toronto: McClelland and Stewart, 1985.
[6] Hunkin, Hany. There Is No Finality. London: Burns and MacEachem Limited, 1971.
[7] Landow, George. Ruskin and the Tradition of "ut pictura poesis". http://www.victorianweb.org/authors/ruskin/atheories/1.1.html
[8] Lessing, G. Ephraim. Laocoon: An Essay upon the Limits of Painting and Poetry. trans. Ellen Frothingham. Boston: Roberts Brothers. 1887.
[9] McLuhan, Marshall and Harley Parker. Through the Vanishing Point: Space in Poetry and Painting. New York: Harper and Row Publishers, 1968.
[10] Mellen, Peter. The Group of Seven. Toronto: McClelland and Stewart Ltd., 1970.
[11] Mitchell, W. J. T. Ed. The Language of Images. Chicago: The University of Chicago Press, 1980.
[12] Moodie,Susanna. Roughing It in the Bush. Eds. Brown, Russell and Donna Bennett. An Anthology of Canadian Literature in English. Toronto: Oxford University Press, 1982. 93.
[13] Murray, Joan. The Best of the Group of Seven. Edmonton: Hurtig Publishers, 1984.
[14] Reid, Dennis. Ed. Tom Thomson. Ottawa: National Gallery, 2002.
[15] Roberts, Charles G. D. "Be Quiet Wind" (1934) Ed. Pacey, Desmond Selected Poems of Charles G. d. Roberts Ottawa: The Tecumseh Press, 1980. 94.
[16] Silcox, David. The Group of Seven and Tom Thomson. Toronto: Firefly Books Ltd., 1983.
[17] Smith, A. J. M. "The Lonely Land" (1936) Eds. Brown, Russell and Donna Bennett An Anthology of Canadian Literature in English. Toronto: Oxford University Press, 1982. 361.