Author: Joseph Hergesheimer
Publisher:
ISBN:
Category : Havana (Cuba)
Languages : en
Pages : 264
Book Description
This is a travelogue of Havana in the early 20th century.
San Cristóbal de la Habana
Author: Joseph Hergesheimer
Publisher:
ISBN:
Category : Havana (Cuba)
Languages : en
Pages : 264
Book Description
This is a travelogue of Havana in the early 20th century.
Publisher:
ISBN:
Category : Havana (Cuba)
Languages : en
Pages : 264
Book Description
This is a travelogue of Havana in the early 20th century.
San Cristóbal de la Habana
Author: Joseph Hergesheimer
Publisher:
ISBN:
Category : Havana (Cuba)
Languages : en
Pages : 264
Book Description
Publisher:
ISBN:
Category : Havana (Cuba)
Languages : en
Pages : 264
Book Description
San Cristóbal de la Habana
Author: Joseph Hergesheimer
Publisher: Library of Alexandria
ISBN: 1465519777
Category : History
Languages : en
Pages : 170
Book Description
THERE are certain cities, strange to the first view, nearer the heart than home. But it might be better to acknowledge that, perhaps, the word home has a wider and deeper significance than any mere geographical and family setting. Many men are alien in houses built from the traditions of their blood; the most inaccessible and obdurate parts of the earth have always been restlessly sought by individuals driven not so much by exterior pressure as by a strange necessity to inhabit a barren copper mountain, a fever coast, or follow to the end of life a river lost in a savage remoteness, hiding the secret of their unquenchable longing. Not this, precisely, happened to me, approaching Havana in the early morning, nothing so tyrannical and absolute; yet, watching the silver greenness of Cuba rising from the blue sea, I had a premonition that what I saw was of peculiar importance to me. I grew at once impatient and sharply intent on the resolving of a nebulous, and verdant mass into the details of dense slopes, slopes that showed, from the sea to their crowns, no break in a dark foliage. The sombreness of the leaves immediately marked the land from an accustomed region of bright maples—they were at once dark, glossy, and heavy, an effect I had often tried to describe, and their presence in such utter expanses filled me with pleasure. It was exactly as though the smooth lustrous hills before me had been created out of an old mysterious desire to realize them in words. Undoubtedly their effect belonged to the sea, the sky, and the hour in which they were set. The plane of the sea, ruffled by a wind like a willful and contrarily exerted force, was so blue that its color was lost in the dark intensity of tone; while the veils of space were dissolved in arcs of expanding light. The island seemed unusually solid and isolated, as complete within itself as a flower in air, and saturated with romance. That was my immediate feeling about Cuba, taking on depth across water profounder than indigo ... it was latent with the emotional distinction which so signally stirred me to write. At once, in imagination, I saw the ineffable bay of Guatanago, where buccaneers careened their ships and, in a town of pink stucco and windows with projecting wooden grilles, drank and took for figureheads the sacred images of churches painted blue. On the shore, under a canopy of silk, a woman, naked but for a twist of bishop's purple, bound her hair in gold cloth. From where she stood, in dyed shadow, a figure only less golden than the cloth, she heard the hollow ring of the caulking malls and the harsh rustle of the palms. Drawing rapidly nearer to what was evidently the entrance to the harbor of Havana I considered the possibilities of such a story, such a character: She had her existence in the seventeenth century, when Morgan marched inland to rape Camagüey—the daughter, without doubt, of a captain of the Armada de Barlevento, the Windward Fleet, and a native woman taken in violence; a shameless wench with primitive feelings enormously complicated by the heritage of Spain's civilization, a murderous, sullen, passionate jade, wholly treacherous and instinct with ferine curiosity. The master for her, I decided, must come from the Court of Charles, the London of the Cavalier Parliament, a gentleman in a gay foppery masking a steel eaten by a cruelty like a secret poison. It would be a story bright with the flames of hell and violent as a hurricane; the pages would reflect the glare of the sand scrawled with cocoanut palms, and banked with mangroves; and, at the end, the bishop's purple would be a cerecloth and the gallows chains sound in Xaymaca. But, above everything else, it would be modern in psychology and color treatment, written with that realism for which the only excuse was to provide a more exact verisimilitude for romance.
Publisher: Library of Alexandria
ISBN: 1465519777
Category : History
Languages : en
Pages : 170
Book Description
THERE are certain cities, strange to the first view, nearer the heart than home. But it might be better to acknowledge that, perhaps, the word home has a wider and deeper significance than any mere geographical and family setting. Many men are alien in houses built from the traditions of their blood; the most inaccessible and obdurate parts of the earth have always been restlessly sought by individuals driven not so much by exterior pressure as by a strange necessity to inhabit a barren copper mountain, a fever coast, or follow to the end of life a river lost in a savage remoteness, hiding the secret of their unquenchable longing. Not this, precisely, happened to me, approaching Havana in the early morning, nothing so tyrannical and absolute; yet, watching the silver greenness of Cuba rising from the blue sea, I had a premonition that what I saw was of peculiar importance to me. I grew at once impatient and sharply intent on the resolving of a nebulous, and verdant mass into the details of dense slopes, slopes that showed, from the sea to their crowns, no break in a dark foliage. The sombreness of the leaves immediately marked the land from an accustomed region of bright maples—they were at once dark, glossy, and heavy, an effect I had often tried to describe, and their presence in such utter expanses filled me with pleasure. It was exactly as though the smooth lustrous hills before me had been created out of an old mysterious desire to realize them in words. Undoubtedly their effect belonged to the sea, the sky, and the hour in which they were set. The plane of the sea, ruffled by a wind like a willful and contrarily exerted force, was so blue that its color was lost in the dark intensity of tone; while the veils of space were dissolved in arcs of expanding light. The island seemed unusually solid and isolated, as complete within itself as a flower in air, and saturated with romance. That was my immediate feeling about Cuba, taking on depth across water profounder than indigo ... it was latent with the emotional distinction which so signally stirred me to write. At once, in imagination, I saw the ineffable bay of Guatanago, where buccaneers careened their ships and, in a town of pink stucco and windows with projecting wooden grilles, drank and took for figureheads the sacred images of churches painted blue. On the shore, under a canopy of silk, a woman, naked but for a twist of bishop's purple, bound her hair in gold cloth. From where she stood, in dyed shadow, a figure only less golden than the cloth, she heard the hollow ring of the caulking malls and the harsh rustle of the palms. Drawing rapidly nearer to what was evidently the entrance to the harbor of Havana I considered the possibilities of such a story, such a character: She had her existence in the seventeenth century, when Morgan marched inland to rape Camagüey—the daughter, without doubt, of a captain of the Armada de Barlevento, the Windward Fleet, and a native woman taken in violence; a shameless wench with primitive feelings enormously complicated by the heritage of Spain's civilization, a murderous, sullen, passionate jade, wholly treacherous and instinct with ferine curiosity. The master for her, I decided, must come from the Court of Charles, the London of the Cavalier Parliament, a gentleman in a gay foppery masking a steel eaten by a cruelty like a secret poison. It would be a story bright with the flames of hell and violent as a hurricane; the pages would reflect the glare of the sand scrawled with cocoanut palms, and banked with mangroves; and, at the end, the bishop's purple would be a cerecloth and the gallows chains sound in Xaymaca. But, above everything else, it would be modern in psychology and color treatment, written with that realism for which the only excuse was to provide a more exact verisimilitude for romance.
Joseph Hergesheimer
Author: Llewellyn Jones
Publisher:
ISBN:
Category : American literature
Languages : en
Pages : 48
Book Description
Publisher:
ISBN:
Category : American literature
Languages : en
Pages : 48
Book Description
Alice Neel
Author: Phoebe Hoban
Publisher: St. Martin's Press
ISBN: 1429956763
Category : Biography & Autobiography
Languages : en
Pages : 514
Book Description
Alice Neel liked to say that she was the century and in many ways she was. She was born into a proper Victorian family, and came of age during suffrage. The quintessential Bohemian, she spent more than half a century, from her early days as a WPA artist living in the heart of the Village, through her Whitney retrospective in 1974, until her death ten years later, painting, often in near-obscurity, an extraordinarily diverse population—from young black sisters in Harlem to the elderly Jewish twin artists, Raphael and Moses Soyer, to Meyer Schapiro and Linus Pauling, to the American Communist Party chairman Gus Hall—creating an indelible portrait of 20th century America. Neel's hundreds of portraits portray a universe of powerful personalities and document an age. Neel painted through the Depression, McCarthyism, the Civil Rights Movement, the sexual revolution of the 60's, feminism, and the feverish eighties. Fiercely democratic in her subjects, she portrayed her lovers, her children, her neighbors in Spanish Harlem, pregnant nudes, crazy people, and famous figures in the art world, all in a searing, psychological style uniquely her own. From Village legend Joe Gould with multiple penises to Frank O'Hara as a lyrical young poet, from porn star Annie Sprinkle gussied up in leather, to her own anxious, nude pregnant daughter-in-law, Neel's portraits are as arrestingly executed as they are relentlessly honest. In this first full-length biography of Neel, best-selling author Phoebe Hoban recounts the remarkable story of Neel's life and career, as full of Sturm and Drang as the century she powerfully captured in paint. Neel managed to transcend her often tragic circumstances, surviving the death from diphtheria of her infant daughter Santillana, her first child by the renowned Cuban painter Carlos Enriquez, with whom she lived in Havana for a year before returning to America; the break-up of her marriage; a nervous breakdown at thirty resulting in several suicide attempts for which she was institutionalized; and the terrible separation from her second child, Isabetta, whom Carlos took back to Havana. In every aspect of her life, Neel dictated her own terms—from defiantly painting figurative pieces at the height of Abstract Expressionism, convincing her subjects to disrobe (which many of them did, including, surprisingly, Andy Warhol) to becoming a single mother to the two sons she bore to dramatically different partners. No wonder she became the de facto artist of the Feminist movement. (When Time magazine put Kate Millet on its cover in 1970, she was asked to paint the portrait.) Very much in touch with her time, Neel was also always ahead of it. Although she herself would probably have rejected such label, she was America's first feminist, multicultural artist, a populist painter for the ages. Phoebe Hoban's Alice Neel: The Art of Not Sitting Pretty tells the unforgettable story of a woman who forged a permanent place in the pantheon by courageously flaunting convention, both in her life and her work.
Publisher: St. Martin's Press
ISBN: 1429956763
Category : Biography & Autobiography
Languages : en
Pages : 514
Book Description
Alice Neel liked to say that she was the century and in many ways she was. She was born into a proper Victorian family, and came of age during suffrage. The quintessential Bohemian, she spent more than half a century, from her early days as a WPA artist living in the heart of the Village, through her Whitney retrospective in 1974, until her death ten years later, painting, often in near-obscurity, an extraordinarily diverse population—from young black sisters in Harlem to the elderly Jewish twin artists, Raphael and Moses Soyer, to Meyer Schapiro and Linus Pauling, to the American Communist Party chairman Gus Hall—creating an indelible portrait of 20th century America. Neel's hundreds of portraits portray a universe of powerful personalities and document an age. Neel painted through the Depression, McCarthyism, the Civil Rights Movement, the sexual revolution of the 60's, feminism, and the feverish eighties. Fiercely democratic in her subjects, she portrayed her lovers, her children, her neighbors in Spanish Harlem, pregnant nudes, crazy people, and famous figures in the art world, all in a searing, psychological style uniquely her own. From Village legend Joe Gould with multiple penises to Frank O'Hara as a lyrical young poet, from porn star Annie Sprinkle gussied up in leather, to her own anxious, nude pregnant daughter-in-law, Neel's portraits are as arrestingly executed as they are relentlessly honest. In this first full-length biography of Neel, best-selling author Phoebe Hoban recounts the remarkable story of Neel's life and career, as full of Sturm and Drang as the century she powerfully captured in paint. Neel managed to transcend her often tragic circumstances, surviving the death from diphtheria of her infant daughter Santillana, her first child by the renowned Cuban painter Carlos Enriquez, with whom she lived in Havana for a year before returning to America; the break-up of her marriage; a nervous breakdown at thirty resulting in several suicide attempts for which she was institutionalized; and the terrible separation from her second child, Isabetta, whom Carlos took back to Havana. In every aspect of her life, Neel dictated her own terms—from defiantly painting figurative pieces at the height of Abstract Expressionism, convincing her subjects to disrobe (which many of them did, including, surprisingly, Andy Warhol) to becoming a single mother to the two sons she bore to dramatically different partners. No wonder she became the de facto artist of the Feminist movement. (When Time magazine put Kate Millet on its cover in 1970, she was asked to paint the portrait.) Very much in touch with her time, Neel was also always ahead of it. Although she herself would probably have rejected such label, she was America's first feminist, multicultural artist, a populist painter for the ages. Phoebe Hoban's Alice Neel: The Art of Not Sitting Pretty tells the unforgettable story of a woman who forged a permanent place in the pantheon by courageously flaunting convention, both in her life and her work.
The Nassau Literary Magazine
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 434
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 434
Book Description
Joseph Hergesheimer
Author: James Branch Cabell
Publisher:
ISBN:
Category :
Languages : en
Pages : 36
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 36
Book Description
The Double Dealer
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 464
Book Description
Publisher:
ISBN:
Category :
Languages : en
Pages : 464
Book Description
The Nation
Author:
Publisher:
ISBN:
Category : Current events
Languages : en
Pages : 818
Book Description
Publisher:
ISBN:
Category : Current events
Languages : en
Pages : 818
Book Description
The Literary Spotlight, with a Pref. by John Farrar
Author: John Chipman Farrar
Publisher:
ISBN:
Category : American literature
Languages : en
Pages : 368
Book Description
Publisher:
ISBN:
Category : American literature
Languages : en
Pages : 368
Book Description