Please use this identifier to cite or link to this item: https://hdl.handle.net/10316.2/42318
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dc.contributor.authorIckstadt, Heinz-
dc.date.accessioned2017-07-18T10:01:56Z-
dc.date.accessioned2020-09-06T11:37:03Z-
dc.date.available2017-07-18T10:01:56Z-
dc.date.available2020-09-06T11:37:03Z-
dc.date.issued2017-
dc.identifier.isbn978-989-26-1308-6 (PDF)-
dc.identifier.isbn978-989-26-1307-9-
dc.identifier.urihttps://hdl.handle.net/10316.2/42318-
dc.description.abstractMarsden Hartley and Hart Crane knew each other via their acquaintance with Alfred Stieglitz and his gallery 291 during the early twenties. They met again in Mexico where both held fellowships to paint and write in search of a more original, more “primitive” culture. Both were ambiguously attracted to the “death culture” of Mexico and the rituals that were part of it. Crane’s suicide by drowning on the way back to the U.S. deeply disturbed the elder painter who had often thought of suicide himself and saw in Crane (like him a homosexual) a mirror-image of his own fate. In commemoration of him he wrote a lengthy poem (“Un Recuerdo – Hermano – Hart Crane R.I.P.”) and painted a mysteriously beautiful picture: “Eight Bells Folly, Memorial for Hart Crane” (1933) which echoes Crane’s “Voyages.” I shall discuss and interrelate both their poems and Hartley’s painting (itself an interpretation of Crane’s sea poetry), outlining a symbolic territory of death, love and desire that poet and painter shared.eng
dc.description.abstractMarsden Hartley e Hart Crane travaram conhecimento através de Alfred Stieglitz e da galeria 291 durante os anos iniciais da década de 1920. Voltaram a encontrar-se no México, onde ambos beneficiavam de uma bolsa que lhes permitia pintar e escrever na sua procura de uma cultura mais original e “primitiva”. Ambos tinham um fascínio ambivalente pelo “culto da morte” na cultura mexicana, com todos os rituais que lhe eram inerentes. O suicídio de Crane, que se afogou no regresso aos Estados Unidos, perturbou profundamente o pintor mais velho, ele próprio atraído pelo suicídio e, tal como Crane, homossexual, assim se passando a rever no destino do poeta. Em celebração do amigo, Crane escreveu um longo poema (“Un Recuerdo – Hermano – Hart Crane R.I.P.”) e pintou um quadro de uma beleza enigmática, “Eight Bells Folly, Memorial for Hart Crane” (1933), que ecoa o poema “Voyages” de Crane. O artigo relacionará ambos os poemas e o quadro de Hartley (ele próprio uma interpretação da poesia marítima de Crane), traçando as linhas do território simbólico da morte, amor e desejo que pintor e poeta partilhavam.por
dc.language.isoeng-
dc.publisherImprensa da Universidade de Coimbrapor
dc.relation.ispartofhttp://hdl.handle.net/10316.2/42307por
dc.rightsopen access-
dc.subjectMarsden Hartleyeng
dc.subject“Un Recuerdo – Hermano – Hart Crane R.I.P.”eng
dc.subjectHart Craneeng
dc.subject“Voyages”eng
dc.subjectMarsden Hartleypor
dc.subject“Un Recuerdo – Hermano – Hart Crane R.I.P.”por
dc.subjectHart Cranepor
dc.subject“Voyages”por
dc.titlePainters and poets of the Stieglitz Circle: Marsden Hartley and Hart Cranepor
dc.typebookPartpor
uc.publication.locationCoimbrapor
uc.publication.volume1por
dc.identifier.doi10.14195/978-989-26-1308-6_8-
uc.publication.sectionEstudos Anglo-Americanospor
uc.publication.digCollectionPBpor
uc.publication.orderno8-
uc.publication.areaArtes e Humanidadespor
uc.publication.bookTitleThe Edge of one of many circles: homenagem a Irene Ramalho Santos-
uc.publication.manifesthttps://dl.uc.pt/json/iiif/10316.2/42318/203149/manifest?manifest=/json/iiif/10316.2/42318/203149/manifest-
uc.publication.thumbnailhttps://dl.uc.pt/retrieve/11047909-
uc.publication.parentItemId54691-
uc.itemId68641-
item.fulltextWith Fulltext-
item.grantfulltextopen-
Appears in Collections:The Edge of one of many circles: homenagem a Irene Ramalho Santos
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