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Poets and the Visual Arts in Renaissance England / Norman K. Farmer.

By: Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©1984Description: 1 online resource (138 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9781477301128
Subject(s): LOC classification:
  • PR545.A78F37 1984
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Preface -- Acknowledgments -- 1. Visual Art in the New Arcadia -- 2. Donne, Jonson, and the Priority of Picture -- 3. Thomas Carew's "A Rapture55 and Lord Herbert's "To his Mistress for her true Picture55: Poetic Invention on Pictorial Themes -- 4. Richard Crashaw: The "Holy Strife" of Pencil and Pen -- 5. Richard Lovelace, Edmund Waller, and the Flowering of English Art -- 6. Herrick's Hesperidean Garden: Ut pictura poesis Applied -- 7. Lady Drury's Oratory: The Painted Closet from Hawstead Hall -- Notes -- Index
Summary: In the twentieth century, the pioneering work of such art historians as Erwin Panofsky and Edgar Wind heightened our awareness of the relationship between Renaissance literature and the visual arts. By focusing on that relationship in the work of such poets as Sir Philip Sidney, John Donne, Richard Crashaw, Edmund Waller, and Robert Herrick, Norman K. Farmer, Jr., convincingly shows that they and other writers of the late sixteenth and early seventeenth centuries in England wrote with a lively and creative sense of the visual—a sense richly informed by the theory and practice of Renaissance art. Farmer begins by describing the powerful visual matrix that underlies the narrative structure of Sidney's New Arcadia. He compares the role of the visual in the poetry of Donne and Ben Jonson, and demonstrates how works by both Thomas Carew and Lord Herbert exhibit poetic invention according to familiar Renaissance pictorial themes. Herrick's Hesperides is shown to be the major seventeenth-century poetic application of the Horatian idea ut pictura poesis. A special feature of this gracefully written and enlightening volume is Farmer's discussion of Lady Drury's oratory at Hawstead Hall. Published here for the first time are photographs of this uniquely decorated oratory, in which themes from a variety of English and Continental emblem books were painted on the walls of a room apparently designed for private meditation.
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Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9781477301128

Frontmatter -- Contents -- Preface -- Acknowledgments -- 1. Visual Art in the New Arcadia -- 2. Donne, Jonson, and the Priority of Picture -- 3. Thomas Carew's "A Rapture55 and Lord Herbert's "To his Mistress for her true Picture55: Poetic Invention on Pictorial Themes -- 4. Richard Crashaw: The "Holy Strife" of Pencil and Pen -- 5. Richard Lovelace, Edmund Waller, and the Flowering of English Art -- 6. Herrick's Hesperidean Garden: Ut pictura poesis Applied -- 7. Lady Drury's Oratory: The Painted Closet from Hawstead Hall -- Notes -- Index

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http://purl.org/coar/access_right/c_16ec

In the twentieth century, the pioneering work of such art historians as Erwin Panofsky and Edgar Wind heightened our awareness of the relationship between Renaissance literature and the visual arts. By focusing on that relationship in the work of such poets as Sir Philip Sidney, John Donne, Richard Crashaw, Edmund Waller, and Robert Herrick, Norman K. Farmer, Jr., convincingly shows that they and other writers of the late sixteenth and early seventeenth centuries in England wrote with a lively and creative sense of the visual—a sense richly informed by the theory and practice of Renaissance art. Farmer begins by describing the powerful visual matrix that underlies the narrative structure of Sidney's New Arcadia. He compares the role of the visual in the poetry of Donne and Ben Jonson, and demonstrates how works by both Thomas Carew and Lord Herbert exhibit poetic invention according to familiar Renaissance pictorial themes. Herrick's Hesperides is shown to be the major seventeenth-century poetic application of the Horatian idea ut pictura poesis. A special feature of this gracefully written and enlightening volume is Farmer's discussion of Lady Drury's oratory at Hawstead Hall. Published here for the first time are photographs of this uniquely decorated oratory, in which themes from a variety of English and Continental emblem books were painted on the walls of a room apparently designed for private meditation.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)