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Focusing on W.B. Yeats's ideal of mutual support between the arts, Karen Brown sheds new light on how collaborations and differences between members of the Yeats family circle contributed to the metamorphosis of the Irish Cultural Revival into Irish Modernism. Making use of primary materials and fresh archival evidence, Brown delves into a variety of media including embroidery, print, illustration, theatre, costume design, poetry, and painting. Tracing the artistic relationships and outcome of W.B. Yeats's vision through five case studies, Brown explores the poet's early engagement with artistic tradition, contributions to the Dun Emer and Cuala Industries, collaboration between W.B. Yeats and Norah McGuinness, analysis of Thomas MacGreevy's pictorial poetry, and a study of literary influence and debt between Jack Yeats and Samuel Beckett. Having undertaken extensive archival research relating to word and image studies, Brown considers her findings in historical context, with particular emphasis on questions of art and gender and art and national identity. Interdisciplinary, this volume is one of the first full-length studies of the fraternité des arts surrounding W.B. Yeats. It represents an important contribution to word and image studies and to debates surrounding Irish Cultural Revival and the formation of Irish Modernism.
Table des matières
Contents: Introduction; W.B. Yeats and the Fraternité des Arts tradition; The Dun Emer and Cuala industries during the Irish cultural revival; W.B. Yeats, Norah McGuinness and Irish modernism; The pictorialist poetics of Thomas MacGreevy; Word and image relations in the later career of Jack Yeats; Bibliography; Index.
A propos de l'auteur
Karen E. Brown is an art historian and curator specializing in interdisciplinarity and visual culture. She has produced a number of publications on twentieth-century Irish art and literature, and is editor of Women's Contributions to Visual Culture, 1918-1939 (Ashgate, 2008). She is currently IRCHSS Postdoctoral Mobility Research Fellow, hosted between the History of Art and Architecture Departments of Trinity College, Dublin and the University of Cambridge.
Résumé
Focusing on W.B. Yeats's ideal of mutual support between the arts, Karen Brown sheds new light on how collaborations and differences between members of the Yeats family circle contributed to the metamorphosis of the Irish Cultural Revival into Irish Modernism. Making use of primary materials and fresh archival evidence, Brown delves into a variety of media including embroidery, print, illustration, theatre, costume design, poetry, and painting. Tracing the artistic relationships and outcome of W.B. Yeats's vision through five case studies, Brown explores the poet's early engagement with artistic tradition, contributions to the Dun Emer and Cuala Industries, collaboration between W.B. Yeats and Norah McGuinness, analysis of Thomas MacGreevy's pictorial poetry, and a study of literary influence and debt between Jack Yeats and Samuel Beckett. Having undertaken extensive archival research relating to word and image studies, Brown considers her findings in historical context, with particular emphasis on questions of art and gender and art and national identity. Interdisciplinary, this volume is one of the first full-length studies of the fraternité des arts surrounding W.B. Yeats. It represents an important contribution to word and image studies and to debates surrounding Irish Cultural Revival and the formation of Irish Modernism.
