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Art (and) Criticism: Hart Crane and David Siqueiros

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Piechucka A.
Text Matters: A Journal of Literature, Theory and Culture
|
2018
|
issue 8
229-243
EN
The article focuses on an analysis of Hart Crane’s essay “Note on the Paintings of David Siqueiros.” One of Crane’s few art-historical texts, the critical piece in question is first of all a tribute to the American poet’s friend, the Mexican painter David Siqueiros. The author of a portrait of Crane, Siqueiros is a major artist, one of the leading figures that marked the history of Mexican painting in the first half of the twentieth century. While it is interesting to delve into the way Crane approaches painting in general and Siqueiros’ oeuvre in particular, an analysis of the essay with which the present article is concerned is also worthwhile for another reason. Like many examples of art criticism-and literary criticism, for that matter-“Note on the Paintings of David Siqueiros” reveals a lot not only about the artist it revolves around, but also about its author, an artist in his own right. In a text written in the last year of his life, Hart Crane therefore voices concerns which have preoccupied him as a poet and which, more importantly, are central to modernist art and literature.
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Between Poetic Voice and Silence: Hart Crane, Yvor Winters, Metapoetics and Emily Dickinson’s Legacy

86%
Piechucka A.
Text Matters: A Journal of Literature, Theory and Culture
|
2020
|
issue 10
336-363
EN
The article is a comparative study of the ways in which two American modernist poets bound by a literary and human connection, Hart Crane and Yvor Winters, dealt with Emily Dickinson’s legacy in their own works. My study is an attempt to place Crane within the legacy of the American Renaissance as represented not by Walt Whitman, with whom he is customarily associated, but by Dickinson, and to examine the special place she holds in Crane’s poetry and in his thinking about poetry and the world at large. Crane’s poetic take on the Amherst poet is set against and complemented by his friend Yvor Winters’s ambiguous relationship with Dickinson’s heritage: troubled by an anxiety of influence, Winters, the poet-critic, vacillates between his reverence for the female poet and his skepticism about certain aspects of her œuvre. In the close readings of the poems in question undertaken in my study, the focus is on their metapoetic dimension. Particular emphasis is laid on the dialectics of silence, which plays a key role in both Crane’s and Winters’s works under discussion, as well as on the related themes of blankness and absence, poetic plenitude and perfection. Attention is also given to the problematics of death, time and timelessness. While Winters concentrates mostly on metapoetics in his exploration of the Dickinsonian tradition, Crane goes further, considering the fate of female artists and gender issues, thereby transcending poetic self-reflexiveness and addressing farther-reaching community concerns, with particular emphasis on anti-patriarchal and feminist ones.
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