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This paper investigates how the works of Williams and Demuth have a common artistic direction. Since they knew their identical interest in both poetry and painting, the two artists have had a longtime friendship. Through the exchanges of their intertextual discourse, they can create a unified art across the boundary between pictorial and linguistic media. Thus, Williams' "The Pot of Flowers" and Demuth's "I Saw the Figure Five in Gold" are their collaborations of intertextuality.
Significantly, they endeavored to create a new American expression which is based on Precisionism. In fact, Precisionism, which intrinsically has poetic and aesthetic characteristics at the same time, is said to be regarded as the most indigenous American art. Both Williams and Demuth try to reflect an American identity in poetry and paintings through a medium of Precisionism. Therefore, Precisionism plays an important role as a link which connects the two artists. However, the two artists want to recreate a new work of art by avoiding the mere literal imitation of each other's works. They adopt pictorial elements in poetry and linguistic elements in paintings so that they can ultimately make true collaborations. Accordingly, Williams and Demuth intend a unified art which reflects the most American things by mutually supplementing the limits of poetry and paintings respectively.
Significantly, they endeavored to create a new American expression which is based on Precisionism. In fact, Precisionism, which intrinsically has poetic and aesthetic characteristics at the same time, is said to be regarded as the most indigenous American art. Both Williams and Demuth try to reflect an American identity in poetry and paintings through a medium of Precisionism. Therefore, Precisionism plays an important role as a link which connects the two artists. However, the two artists want to recreate a new work of art by avoiding the mere literal imitation of each other's works. They adopt pictorial elements in poetry and linguistic elements in paintings so that they can ultimately make true collaborations. Accordingly, Williams and Demuth intend a unified art which reflects the most American things by mutually supplementing the limits of poetry and paintings respectively.
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참고문헌 (22)
참고문헌 신청
1. [학위논문] - 신채기 / 2004 / 1910년에서 1930년대까지 미국 미술에 나타난 국가 정체성에 관한 연구 / 박사 / 이화여자대학교 대학원
2. [학술지(정기간행물)] - Aiken, Edward. / 1987 / “‘I Saw the Figure 5 in Gold’: Charles Demuth's Emblematic Portrait of William Carlos Williams.” / Art Journal 46 (3) : 178 ~ 184
3. [단행본] - Berger, John. / 1965 / The Success and Failure of Picasso / Harmondsworth: Penguin
4. [학술지(정기간행물)] - Breslin, James E / 1977 / Williams Carlos Williams and Charles Demuth: Cross-Fertilization in the Arts / Journal of Modern Literature 6 (2) : 248 ~ 263
5. [단행본] - Brown, Milton. / 1977 / The Modernist Spirit: American Painting / London Arts Council of Great Britain
2. [학술지(정기간행물)] - Aiken, Edward. / 1987 / “‘I Saw the Figure 5 in Gold’: Charles Demuth's Emblematic Portrait of William Carlos Williams.” / Art Journal 46 (3) : 178 ~ 184
3. [단행본] - Berger, John. / 1965 / The Success and Failure of Picasso / Harmondsworth: Penguin
4. [학술지(정기간행물)] - Breslin, James E / 1977 / Williams Carlos Williams and Charles Demuth: Cross-Fertilization in the Arts / Journal of Modern Literature 6 (2) : 248 ~ 263
5. [단행본] - Brown, Milton. / 1977 / The Modernist Spirit: American Painting / London Arts Council of Great Britain
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