{"id":30005,"date":"2016-01-25T18:49:36","date_gmt":"2016-01-25T17:49:36","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=30005"},"modified":"2016-01-25T18:49:36","modified_gmt":"2016-01-25T17:49:36","slug":"imitate-when-art-starts-to-speak","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=30005","title":{"rendered":"Imitate: When Art Starts To Speak…"},"content":{"rendered":"

Let\u2019s pretend! You go to see a beautiful art installation. Interesting-looking objects are on display, paintings with vibrant colours are hanging on the wall, artful sculptures are shown in the middle of the exhibition room. What comes to your mind?
\nWell, the greek biographer and essayist Plutarch once said that \u201cpainting is silent poetry, and poetry is painting that speaks\u201c, so art in all its beautiful variations inspires people in many different ways.
\nWhether it be in fashion, film, music or literature, it has always been an inspirational source of creativity and especially poets have used art as a source of inspiration and stimulation for many centuries.
\n\u2028Today, we look at poems that \u201cimitate\u201c art works and interpret them in a different way. When art turns into poetry\u2026<\/p>\n

Let\u2019s start with the Romantic poet John Keats. You might have come across his \u201cOde on a Grecian Urn\u201c at some point. Keats was inspired to write his poem after having read two works by the English artist Benjamin Haydon. On top of that, \u201cThe Parthenon Marbles\u201c, a collection of classical Greek marble sculptures, had an impact on Keats\u2019 idea that classical Greek art was idealistic.<\/p>\n

\"Bildschirmfoto<\/a>
\n“Ode on a Grecian Urn” transcribed by George Keats in 1820<\/em><\/p>\n

With the beginning of the 20th century, writers turned increasingly towards paintings and sculptures.
\nIn this respect, another great example of an art work that kind of turned into a poem is Edwin Romanzo Elmer\u2019s \u201eMourning Picture\u201c which Elmer created after his 9-year-old daughter Effie had died. <\/p>\n

\"Bildschirmfoto<\/a>
\nMourning Picture by Edwin Romanzo Elmer (1890)<\/em><\/p>\n

75 the years later, Adrienne Rich took the painting as an inspiration for her poem that bears the same name as the painting itself.<\/p>\n

Mourning Picture by Adrienne Rich (1965)\u00a0<\/strong><\/p>\n

They have carried the mahogany chair and the cane rocker\u00a0
\nout under the lilac bush,\u00a0
\nand my father and mother darkly sit there, in black clothes.\u00a0
\nOur clapboard house stands fast on its hill,\u00a0
\nmy doll lies in her wicker pram\u00a0
\ngazing at western Massachusetts.\u00a0
\nThis was our world.\u00a0
\nI could remake each shaft of grass\u00a0
\nfeeling its rasp on my fingers,\u00a0
\ndraw out the map of every lilac leaf\u00a0
\nor the net of veins on my father’s\u00a0\u00a0
\ngrief-tranced\u00a0hand.\u00a0\u00a0<\/p>\n

Out of my head, half-bursting,\u00a0
\nstill filling, the dream condenses–\u00a0
\nshadows, crystals, ceilings, meadows, globes of dew.\u00a0
\nUnder the dull green of the lilacs, out in the light\u00a0
\ncarving each spoke of the pram, the turned porch-pillars,\u00a0
\nunder high early-summer clouds,\u00a0
\nI am Effie, visible and invisible,\u00a0
\nremembering and remembered.\u00a0<\/p>\n

Moving on to Philip Larkin’s poem “An Arundel Tomb” which was published in his collection of poems entitled “The Whitsun Weddings” in 1964. It is by far the greatest post-war poem that was inspired by a 14th-century table tomb; a single piece of art.<\/p>\n

\"Bildschirmfoto<\/a>
\nArundel Tomb in Chichester Cathedral in Sussex, England.<\/em><\/p>\n

An Arundel Tomb by Philip Larkin (1964)<\/strong><\/p>\n

Side by side, their faces blurred
\nThe earl and countess lie in stone,
\nTheir proper habits vaguely shown
\nAs jointed armour, stiffened pleat,
\nAnd that faint hint of the absurd –
\nThe little dogs under their feet.<\/p>\n

Such plainness of the pre-baroque
\nHardly involves the eye, until
\nIt meets his left-hand gauntlet, still
\nClasped empty in the other; and
\nOne sees, with a sharp tender shock,
\nHis hand withdrawn, holding her hand.<\/p>\n

They would not think to lie so long.
\nSuch faithfulness in effigy
\nWas just a detail friends would see:
\nA sculptor’s sweet commissioned grace
\nThrown off in helping to prolong
\nThe Latin names around the base.<\/p>\n

They would not guess how early in
\nTheir supine stationary voyage
\nThe air would change to soundless damage,
\nTurn the old tenantry away;
\nHow soon succeeding eyes begin
\nTo look, not read. Rigidly they<\/p>\n

Persisted, linked, through lengths and breadths
\nOf time. Snow fell, undated. Light
\nEach summer thronged the glass. A bright
\nLitter of birdcalls strewed the same
\nBone-riddled ground. And up the paths
\nThe endless altered people came,<\/p>\n

Washing at their identity.
\nNow, helpless in the hollow of
\nAn unarmorial age, a trough
\nOf smoke in slow suspended skeins
\nAbove their scrap of history,
\nOnly an attitude remains:<\/p>\n

Time has transfigured them into
\nUntruth. The stone fidelity
\nThey hardly meant has come to be
\nTheir final blazon, and to prove
\nOur almost-instinct almost true:
\nWhat will survive of us is love<\/p>\n

Elizabeth Jennings is known for her poems that are a direct response to different paintings.
\nOne of her most popular poems describes Rembrandt’s late self-portraits. <\/p>\n

\"Bildschirmfoto<\/a>
\nSelf-Portrait of Rembrandt, 1669.<\/em><\/p>\n

Elizabeth Jennings (1975)<\/strong><\/p>\n

You are confronted with yourself. Each year
\nThe pouches fill, the skin is uglier.
\nYou give it all unflinchingly. You stare
\nInto yourself, beyond. Your brush’s care
\nRuns with self-knowledge. Here<\/p>\n

Is a humility at one with craft.
\nThere is no arrogance. Pride is apart
\nFrom this self-scrutiny. You make light drift
\nThe way you want. Your face is bruised and hurt
\nBut there is still love left.<\/p>\n

Love of the art and others. To the last
\nExperiment went on. You stared beyond
\nYour age, the times. You also plucked the past
\nAnd tempered it. Self-portraits understand,
\nAnd old age can divest,<\/p>\n

With truthful changes, us of fear of death.
\nLook, a new anguish. There, the bloated nose,
\nThe sadness and the joy. To paint’s to breathe,
\nAnd all the darknesses are dared. You chose
\nWhat each must reckon with.<\/p>\n

Without any doubt, art works inspire us in various different ways and one could even say that they “talk” to us when you have a closer look at them. So maybe you will feel inspired to get creative when attending your next art exhibition…You never know?!<\/p>\n","protected":false},"excerpt":{"rendered":"

Let\u2019s pretend! You go to see a beautiful art installation. Interesting-looking objects are on display, paintings with vibrant colours are…<\/p>\n","protected":false},"author":84,"featured_media":30006,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[8],"tags":[9259,28,9260,9171,211],"features_issues":[],"featured_themes":[],"ppma_author":[16677],"class_list":["post-30005","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-literature","tag-adrienne-rich","tag-art-2","tag-edwin-romanzo","tag-imitate","tag-poetry"],"yoast_head":"\nImitate: When Art Starts To Speak... | Cent Magazine<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Imitate: When Art Starts To Speak... | Cent Magazine\" \/>\n<meta property=\"og:description\" content=\"Let\u2019s pretend! 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