By Ezra Pound
Ezra Pound’s vintage e-book concerning the which means of literature, with a brand new advent by means of Michael Dirda.
This very important paintings, first released in 1934, is a concise assertion of Pound’s aesthetic conception. it's a primer for the reader who desires to retain an energetic, severe brain and develop into more and more delicate to the sweetness and idea of the world’s top literature. With attribute power and iconoclasm, Pound illustrates his precepts with indicates meticulously selected from the classics, and the concluding “Treatise on Meter” presents an illuminating essay for someone intending to learn and write poetry. ABC of interpreting monitors Pound’s nice skill to open new avenues in literature for our time.
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Extra info for ABC of Reading (New Directions Paperbook)
Crucially, that departure operated not through an attempt to restore the illusion of perspectival space as a means to recapture the terrain of some kind of visual realism, but through an engagement with color and pictorial space that underlies the most vital tensions in Arikha’s work, those that persist in the dynamic interplay of his formal and technical means and visual acuity and are manifested in the very materiality of his works. Paradoxically, perhaps, the experiments to which Arikha devoted himself following his epiphany at the Caravaggio exhibition through a seven-year period almost entirely excluded the use of colour.
1225 03 Plate Section:Samuel Beckett 10/1/14 12:01 Page 4 Plate 4: Michelangelo Merisi da Caravaggio (1573–1610), Basket of Fruit, 1594–1598. Oil on canvas, 47 × 62 cm. (Inv. 151). © 2013 Veneranda Biblioteca Ambrosiana. 1225 03 Plate Section:Samuel Beckett 10/1/14 12:01 Page 5 Plate 5: Michelangelo Merisi da Caravaggio, The Resurrection of Lazarus. c. 1608–9. Oil on canvas, 380 × 275 cm. Museo Nationale, Messina, Italy. Photo credit: Scala/Art Resource, NY. 1225 03 Plate Section:Samuel Beckett 10/1/14 12:02 Page 6 Plate 6: Avigdor Arikha, The Corridor.
What matters is not only that he painted from life, choosing vulgar subjects or infusing sacred ones with vulgar personages or depicting saints with dirty feet, but more crucially the twofold objection that he lacked ideas and could not tell a story. It is precisely this art-historical criticism of Caravaggio that leads Arikha, in turn, to oppose him to Poussin. For Poussin, it was the capacity to represent ‘the loftiest and most heroic actions’ that makes the painter of history, istoria. 30 Alberti’s ‘visual pyramid’, painstakingly elaborated in his work On Painting and tied to the function of the sovereign ‘prince of rays’, enabled at once the presentation of spatial depth and the harmonisation of the various implicit temporal moments of the narrative through their distribution in several planes of the canvas.
ABC of Reading (New Directions Paperbook) by Ezra Pound