Article by Richard Bennet
John Donne (1572-1631) established what is known as the Metaphysical style of poetry which was taken up by later on poets such as George Herbert (1593-1633) and Henry Vaughan (1622-95). A few of the chief attributes of Donne’s design are: the abrupt opening of the poem having a shocking dramatic line; the usage of colloquial diction; the concepts inside the poem currently being introduced like a logical and persuasive argument, the purpose of that’s to support his wooing, no matter whether of a woman or God. Donne took metaphors from all spheres of lifestyle, specially from crafts and also the sciences, and created frequent utilization of the ‘conceit’: a shocking, ingenious, turn of suggestions. Usually an entire poem is surely an prolonged ‘conceit’, and often a poem ends using a final ‘conceit’ within the previous two lines. Donne formulated his method writing love poetry, and later adapted it to the composing of religious poetry.
George Herbert followed the lead offered by Donne, but he also manufactured contributions which were really unique. Herbert’s distinguishing attribute is his simplicity of diction and metaphor. He retains the colloquial manner, and, to an extent, the logical persuasive presentation of ideas, but he draws his metaphors from daily domestic experience, using an array of straightforward commonplace imagery in contrast towards the sophisticated imagery of Donne. ‘Conceits’ are not an important component of Herbert’s poetry, and his appeal is not so intellectual as Donne’s.
A technique Herbert introduced was the ending of the poem with two quiet lines which resolve the argument within the poem without answering the distinct points raised by it. On this way Herbert conveys the insight that one particular can’t argue or explanation with God; one possibly feels God’s presence, or loses the feeling. In these respects Herbert can be deemed to have broken new ground, into which Henry Vaughan followed later.
In contrast to Donne, Herbert wrote no adore poetry, possessing made the decision, when he commenced producing poetry at Cambridge, to dedicate his poetic performs to God. Herbert’s poetry is about struggles of a religious type, however the struggles are neither so desperate nor so private as Donne’s. Herbert writes for other folks, recording his struggles in order that others may possibly stick to his example. The assumed in Herbert’s poems might be witnessed being a continuation with the assumed in his sermons, and it really is this goal behind his poetry which mostly determines his style. Within the opening stanza of ‘The Church Porch’ he writes,
‘A verse could finde him, who a sermon flies, And turn delight into a sacrifice.’
Donne’s Holy Sonnet ‘Batter my Heart’ and Herbert’s ‘The Collar’ are each poems regarding the struggle to sustain faith in God.
Donne’s pondering is far more intellectual, while Herbert’s arguments relate more to emotions, the sorts of feeling with which we are able to all discover. Consequently, we discover a big difference in type. Herbert’s lines are easier and shorter, and we realize them easily, whereas understanding Donne will take hard work and concentration.
Compared to Donne Herbert puts significantly less emphasis on conceits, exotic imagery, and ingenious assumed, and looks to an additional resource for stylistic inspiration – the Bible, or, much more especially, the language of Christ and also the Parables. Wherever Donne goes out of his strategy to locate an exotic or striking picture, Herbert seems to be for your homeliest commonplace image he can discover. In ‘The Collar’ as an example we now have a thorn, wine, fruit, and cable. We could see the purpose for this preference in Herbert’s personal observations on Christ’s utilization of common imagery.
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Poetry course conducted by Michael Braziller with guest poet Maria Ponsot.
Video Rating: 4 / 5
This is the tenth of Donne’s nineteen Holy Sonnets. Taken from ‘Six Centuries of Verse’ (1984), episode six “Metaphysical and Devotional Poets 1590-1670”.
A few nice John Donne images I found:
John Donne’s House
Image by Simon Greig (xrrr)
An Elizabethan summerhouse that is part of Pyrford Place. John Donne, Poet and Dean of St Paul’s, lived here 1600 – 1604.
Prospect Cottage poem wall: “The Sunne Rising” by John Donne
Image by dumbledad
Here’s the full poem [with the bits Derek Jarman missed out in square brackets]. (And there’s a reading guide on the Poetry Foundation site.)
The Sunne Rising
by John Donne
Busie old foole, unruly Sunne,
Why dost thou thus,
Through windowes, and through curtaines call on us?
Must to thy motions lovers seasons run?
Sawcy pedantique wretch, goe chide
Late schoole boyes, and sowre prentices,
Goe tell Court-huntsmen, that the King will ride,
Call countrey ants to harvest offices;
Love, all alike, no season knowes, nor clyme,
Nor houres, dayes, moneths, which are the rags of time.
[Thy beames, so reverend, and strong
Why shouldst thou thinke?
I could eclipse and cloud them with a winke,
But that I would not lose her sight so long:
If her eyes have not blinded thine,
Looke, and to morrow late, tell mee,
Whether both the’India’s of spice and Myne
Be where thou leftst them, or lie here with mee.
Aske for those Kings whom thou saw’st yesterday,
And thou shalt heare, All here in one bed lay.
She’is all States, and all Princes, I,
Nothing else is.
Princes doe but play us; compar’d to this,
All honor’s mimique; All wealth alchimie.]
Thou sunne art halfe as happy’as wee,
In that the world’s contracted thus;
Thine age askes ease, and since thy duties bee
To warme the world, that’s done in warming us.
Shine here to us, and thou art every where;
This bed thy center is, these walls, thy spheare.
Article by Paul S. D’Ambrosio
John Singer Sargent (1856-1925) was the foremost American portrait painter of the late nineteenth century. In his elegant, fluid likenesses of leading figures in industry, society, and the arts, Sargent captured a new America-a country emerging from the ravages of civil war and eager to take its place on a global stage. A lifelong expatriate, Sargent was immersed in European culture and, as Americans traveled to Europe in greater numbers than ever before, became an important link between old world and new. Americans who desired to be seen as sophisticated and worldly sought him out to paint their portraits. The resulting body of work documents a period of profound changes in American society and culture.
Early in his career, Sargent earned praise for his portraits of women. Henry James, in his 1887 article on Sargent in Harper’s New Monthly Magazine, saw something about the young artist that made him “so happy as a painter of women.” Sargent’s women were not “the commonplace work that looks down at us from the walls of exhibitions,” where “delicate feminine elements have so often been sacrificed.” The women with whom Sargent surrounded himself, or met on his travels, inspired him to create vibrant canvases that reveal each woman’s allure, intelligence, and complex humanity.
The height of Sargent’s career coincided with an historical era in which women claimed new personal freedoms. The post-Civil War period was a time in which women’s roles in society were changing rapidly. Women entered higher education and professional careers in greater numbers than ever before, and changes in fashion (especially the development of the bloomers and the shirtwaist) and culture gave them greater physical freedom. In art and the popular press, the “new” woman can be seen experiencing her newfound independence and confidence.
The Fenimore Art Museum exhibition “John Singer Sargent: Portraits in Praise of Women” is presenting thirty of Sargent’s portraits of American women, and will connect the artist’s stylistic choices with the character traits of his female portrait subjects. Specifically, the exhibition illustrates the manner in which Sargent created a range of images that effectively communicated the complex changes and paradoxes in femininity in late nineteenth century America. Divided into three thematic sections-Women of Fashion, Women of Mystery, and Women of Substance-the exhibition showcases images of women who exerted leadership in the arts and society as well as in their careers and in the intellectual community. It also demonstrates Sargent’s keen interest in exotic women little known or understood by an American audience, and his visual assertion of the importance of mystery in the definition of femininity.
Women of Fashion includes portraits of women who exemplified sophisticated taste and extravagance, many of whom made their homes centers of social interaction and artistic exchange. Sargent tended to paint these women with a lighter palette and an emphasis on surface textures and light, along with costume details that spoke to the sitters’ wealth and taste.
Women of Mystery features exotic beauties, mainly (but not exclusively) women from cultures little known to fashionable society. These include Sargent’s famous Capriote model Rosina Ferrara and perhaps his most famous (or infamous) subject of all, Virginie Avegno Gautreau, or Madame X, represented in the exhibition by two preparatory drawings for her 1883-4 portrait. In these likenesses Sargent entices the viewer with sensuous poses and emphasizes the “strange and unusual” physiognomies, costumes, and settings of his subjects. Unlike Sargent’s commissioned portraits, these subjects engage the viewer in oblique ways that enhance their allure.
Women of Substance includes portrait subjects known for their contributions to higher education, professional life, or the intellectual community. Many of these women were pioneers in their fields and leaders in society. In these portraits Sargent often employs a darker palette along with restrained compositions and cerebral poses that emphasize the formidable intelligence of the sitters.
“John Singer Sargent: Portraits in Praise of Women” breaks new ground in several ways. It is the first museum exhibition devoted exclusively to Sargent’s portraits of women. It is the first exhibition to directly compare the varied attributes of the women Sargent portrayed and the visual strategies employed by the artist to communicate those characteristics. Lastly, paired with the new exhibition “Empire Waists, Bustles and Lace,” the first exhibition of the Fenimore Art Museum’s collection of historic costumes, the Sargent exhibition is the first to allow visitors to see and experience broader historical context of women’s fashion.
Paul S. D’Ambrosio is Chief Curator, Fenimore Art Museum, Cooperstown NY
Article by Brandon Fuhrmann
John Singer Sargent was an American artist born in Florence Italy, to American and expatriate parents. Receiving his first formal art instruction in the City of Rome in 1868, the young John Singer Sargent floated around Florence between 1870 in 1873, before he was accepted at the Paris Cold Art School. Although a dual citizen of America and France, it would take John Singer, until the age of 21, before he would step foot on American soil. Intensely intelligent and trilingual in several languages, Sargent was able to rub elbows with some of the most important European aristocracy, and wooed the American well-heeled socialites, as well. With everything that John Singer Sargent attempted to complete, came success and notoriety. This American artist was said to have a special quality about him, a mere attraction that screamed brilliance and periscope-absolute refinement. The only hurdle left was the question of what John Singer Sargent would do next; a brilliant artist is as well as dynamic personality, he had the world at his feet. That question was answered in relatively short time as Sargent became one of the world’s greatest artists and one of the most sought after muralist, in both Europe and America.
John Singer Sargent was humble to a certain degree, yet could be calculating and direct when needed, and once said that color is an inborn gift, but appreciation of color value is merely training of the eye, which everyone ought to be able to acquire. Although born into a well-to-do family, John Singer Sargent also possessed a work attitude that bordered on the edge of fanatical. Even though obviously genetically gifted in the artistic world, John Singer started and was not satisfied with this and would spend long days, sketching everything that crossed his path, and would say that you can do sketches enough, sketched everything and key good curiosity for us, and testament to his own characteristics and successful demeanor.
John Singer Sargent became one of the most successful portrait painters of his era, and also was a gifted and sought after land state painter. John Singer Sargent never wavered in his love of France and Europe yet found the natural beauty of America, to be more than accommodating for his artistic desires. One of his most remarkable paintings, ‘Carnation Lily Lily Rose’, was painted in 1885, and shows the detail that only John Singer Sargent could pull off and produce from an oil painting. This masterful work of art has an equally matching and wonderful storyline, behind its creation and inspiration. The painting was created during the autumn time at Farnham House and Russell House, which were the family homes of Frank Millet. The two girls pictured in the painting are the daughters of Frederick Bonnard and his wife Alice. John Singer Sargent wanted to illustrate the fading of the flowered background, and highlighted the lily white dresses, in an attempt to contrast the beauty of life with the finality of death. The work took a full week or so, with painstakingly readiness of both children and Millet and Bernard family. This was in a time when only the natural light would do and this comes across in this truly masterful production by John Singer Sargent. John Singer Sargent illustrated his approach to painting Carnation Lily Lily Rose, when he pointed out that the paints have no chance at capturing the most- central quality and beauty of the flowers and bright green lawn background, what was produced, was one of the most stunningly beautiful reflections of light on canvas of all the 19th century artesian of the era. By capturing the many different types of light that was flooding down upon the ‘Lily’ scene Sergeant was able to adequately cement his mane in place for one of the most spectacular artist that came out of Europe or the Americas.