Frances Spalding
- Published in print:
- 2015
- Published Online:
- May 2017
- ISBN:
- 9781474400381
- eISBN:
- 9781474416054
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474400381.003.0013
- Subject:
- Literature, Women's Literature
This brief article examines the painting titled Umbrellas, painted in 1917 by the Hon. Dorothy Brett. The painting depicts the world of talented individuals, composed of artists, writers and ...
More
This brief article examines the painting titled Umbrellas, painted in 1917 by the Hon. Dorothy Brett. The painting depicts the world of talented individuals, composed of artists, writers and intellectuals, who used to gather at Garsington, the country home of Lady Ottoline Morrell. Although primarily an animated portrait of people Brett knew well, the painting is artfully structured around the abstract shapes created by the umbrellas, which wheel about and help frame the sitters. Ottoline presides at the centre, and opposite her is in the bottom left of the painting, is Aldous Huxley. Also depicted are Lytton Strachey, Brett herself, Julian Morrell, Katherine Mansfield and John Middleton Murry.Less
This brief article examines the painting titled Umbrellas, painted in 1917 by the Hon. Dorothy Brett. The painting depicts the world of talented individuals, composed of artists, writers and intellectuals, who used to gather at Garsington, the country home of Lady Ottoline Morrell. Although primarily an animated portrait of people Brett knew well, the painting is artfully structured around the abstract shapes created by the umbrellas, which wheel about and help frame the sitters. Ottoline presides at the centre, and opposite her is in the bottom left of the painting, is Aldous Huxley. Also depicted are Lytton Strachey, Brett herself, Julian Morrell, Katherine Mansfield and John Middleton Murry.
Lee M. Jenkins
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780813060507
- eISBN:
- 9780813050676
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813060507.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book posits an “American Lawrence,” exploring D. H. Lawrence’s role as a creator as well as a critic of American literature between 1922 and 1925 when he was resident in the New World. The ...
More
This book posits an “American Lawrence,” exploring D. H. Lawrence’s role as a creator as well as a critic of American literature between 1922 and 1925 when he was resident in the New World. The American Lawrence, this book argues, ought to be included in the globalized definition of American literature which obtains in American Studies today. The book reconstructs Lawrence’s underexplored yet important relationship, as a poet, with transatlantic Imagism, with the local American modernism sponsored by Alfred Stieglitz and William Carlos Williams, and with the regional, New Mexico modernism promoted, among others, by Mary Austin and Alice Corbin Henderson. Lawrence’s American fictions—“St. Mawr,” “The Princess,” and “The Woman Who Rode Away”—are read here as incursions into the generic and gendered conventions of American literature (American Romance, the Indian captivity narrative) and as stories which register the complex, triethnic politics of northern New Mexico. This book also assesses Lawrence’s relationships, as collaborator, as male muse, and as antagonist, with women writers and painters in northern New Mexico, among them his hostess in Taos, Mabel Dodge Luhan, and the artists Dorothy Brett and Georgia O’Keeffe.Less
This book posits an “American Lawrence,” exploring D. H. Lawrence’s role as a creator as well as a critic of American literature between 1922 and 1925 when he was resident in the New World. The American Lawrence, this book argues, ought to be included in the globalized definition of American literature which obtains in American Studies today. The book reconstructs Lawrence’s underexplored yet important relationship, as a poet, with transatlantic Imagism, with the local American modernism sponsored by Alfred Stieglitz and William Carlos Williams, and with the regional, New Mexico modernism promoted, among others, by Mary Austin and Alice Corbin Henderson. Lawrence’s American fictions—“St. Mawr,” “The Princess,” and “The Woman Who Rode Away”—are read here as incursions into the generic and gendered conventions of American literature (American Romance, the Indian captivity narrative) and as stories which register the complex, triethnic politics of northern New Mexico. This book also assesses Lawrence’s relationships, as collaborator, as male muse, and as antagonist, with women writers and painters in northern New Mexico, among them his hostess in Taos, Mabel Dodge Luhan, and the artists Dorothy Brett and Georgia O’Keeffe.
Lee M. Jenkins
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780813060507
- eISBN:
- 9780813050676
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813060507.003.0004
- Subject:
- Literature, 20th-century Literature and Modernism
The Conclusion explores the creative collaborations between Lawrence and New Mexico women writers and artists, including Mabel Dodge Luhan, Dorothy Brett, and Georgia O’Keeffe. This chapter discusses ...
More
The Conclusion explores the creative collaborations between Lawrence and New Mexico women writers and artists, including Mabel Dodge Luhan, Dorothy Brett, and Georgia O’Keeffe. This chapter discusses the ways in which these women engage with, reconfigure, and regender Lawrence’s own New Mexico writing, and his representation of the Kiowa Ranch. This chapter makes particular reference to Luhan’s Intimate Memories and her autobiographical novel Winter in Taos, and to Brett’s Kiowa Ranch painting “Lawrence’s Three Fates,” and to O’Keeffe’s painting of the pine tree at Kiowa, “The Lawrence Tree.”Less
The Conclusion explores the creative collaborations between Lawrence and New Mexico women writers and artists, including Mabel Dodge Luhan, Dorothy Brett, and Georgia O’Keeffe. This chapter discusses the ways in which these women engage with, reconfigure, and regender Lawrence’s own New Mexico writing, and his representation of the Kiowa Ranch. This chapter makes particular reference to Luhan’s Intimate Memories and her autobiographical novel Winter in Taos, and to Brett’s Kiowa Ranch painting “Lawrence’s Three Fates,” and to O’Keeffe’s painting of the pine tree at Kiowa, “The Lawrence Tree.”
Catherine Brown
- Published in print:
- 2020
- Published Online:
- September 2021
- ISBN:
- 9781474456623
- eISBN:
- 9781474496056
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474456623.003.0029
- Subject:
- Literature, Criticism/Theory
This chapter takes a double portrait by Dorothy Brett of D. H. Lawrence as Christ and Pan as the starting point for an analysis of how Lawrence has been apprehended – both positively and negatively – ...
More
This chapter takes a double portrait by Dorothy Brett of D. H. Lawrence as Christ and Pan as the starting point for an analysis of how Lawrence has been apprehended – both positively and negatively – as resembling Christ and/or Pan, or else for failing to resemble one of them sufficiently, from his own lifetime until the 1960s. Brett’s portraiture of Lawrence also initiates a study of the painted and photographic iconography of Lawrence made chiefly but not exclusively within his own lifetime, with a focus on the extent to which these suggest a Christ-like or a Pan-like aspect. A concluding section observes that both deifying and iconoclastic responses to Lawrence are now less common, and that more secular, but still passionately-appreciative, responses to him have largely replaced them.Less
This chapter takes a double portrait by Dorothy Brett of D. H. Lawrence as Christ and Pan as the starting point for an analysis of how Lawrence has been apprehended – both positively and negatively – as resembling Christ and/or Pan, or else for failing to resemble one of them sufficiently, from his own lifetime until the 1960s. Brett’s portraiture of Lawrence also initiates a study of the painted and photographic iconography of Lawrence made chiefly but not exclusively within his own lifetime, with a focus on the extent to which these suggest a Christ-like or a Pan-like aspect. A concluding section observes that both deifying and iconoclastic responses to Lawrence are now less common, and that more secular, but still passionately-appreciative, responses to him have largely replaced them.
