By Ivan A. Schulman
Studies the impact of the plastic arts at the significant writers of Latin American modernism.
Painting Modernism demonstrates the impression of portray and sculpture at the paintings of the foremost writers of Latin American modernism. via his research, Ivan A. Schulman, a foundational determine within the box, deals a concise and new interpretation of works by means of José Asunción Silva, Julián del Casal, Rubén Darío, José Juan Tablada, and José Martí. conventional serious discourse on modernism has emphasised the character of this flow by way of its self-referentiality, fragmentation, elitist/escapist options, and subjective notions of cultural and aesthetic authenticity. Schulman breaks from this procedure and examines those works as items of subjectively generated social/artistic practices which are inseparable from socioeconomic changes and the chaotic cultural crises of the trendy world.
“…[a] hugely readable e-book … this quantity is a necessary and well timed contribution to numerous disciplines, a piece that has far-reaching implications and the aptitude to stimulate additional examine right into a interesting epoch of literary history.” — Hispania
Ivan A. Schulman is Professor Emeritus of Spanish and Comparative Literature on the college of Illinois at Urbana-Champaign. he's the writer and editor of many Spanish-language books on modernism.
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Extra info for Painting Modernism (SUNY series in Latin American and Iberian Thought and Culture)
He searches worldwide for the elusive Helena “seen” by him on that single night, who has been transformed by him into the passion at the center of his life. But after months of febrile, futile imaginings, agonizing visions, and worldwide searches, when he finally consults a “psychophysician,” Doctor Rivington, the doctor tries to convince him that Helena was not actually seen by Fernández in Geneva. Instead, he finds, she is the product of the protagonist’s imagination, which has converted the subject of a Pre-Raphaelite painting, seen in a London exhibition years ago, into the living vision he claims to have seen in Geneva.
For example, the opening of chapter 1 reads as follows: A luxuriant magnolia, trimmed too fastidiously by the local gardener, shaded Lucía Jerez’s visitors that Sunday morning. , huge, immaculate flowers one conjures up when one loves too much. PAINTED NARRATIONS (Una frondosa magnolia, podada por el jardinero de la casa con manos demasiado académicas, cubría aquel domingo por la mañana con su sombra a los familiares de la casa de Lucía Jerez. ) (1) The painterly vision throughout the novel is interspersed with moral observations that we consider related to and emanating from the conflicted psyche of modernist writers.
Modernity’s reality, that is, the growth of a middle class in an age of industrialization and incipient capitalism in Latin America’s major urban centers, resulted in an emphasis upon material acquisitions, opulent artistic works of art; imported exotic fabrics, gold jewelry, diamonds, rubies, 17 1 8 Pa i n t i n g M o d e r n i s m opals, all made their way into the landscapes and inscapes of the works of these writers and contrasted with their counterdiscourses of spirituality and antimaterialism.