James King
- Published in print:
- 2016
- Published Online:
- January 2018
- ISBN:
- 9781474414500
- eISBN:
- 9781474421874
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474414500.001.0001
- Subject:
- Art, Art History
As an artist, an impresario, a biographer and a collector, Roland Penrose (1900–1984) is a key figure in the study of modern art in England. This book explores the intricacies of Penrose's life and ...
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As an artist, an impresario, a biographer and a collector, Roland Penrose (1900–1984) is a key figure in the study of modern art in England. This book explores the intricacies of Penrose's life and work, tracing the profound effects of his upbringing in a Quaker household on his values, the early influence of Roger Fry, and his friendships with Max Ernst, André Breton and other surrealists, especially Paul Éluard. Penrose's conflicted relationship with Pablo Picasso, his tireless promotion of surrealism and the production of his own surrealist art are also discussed. Penrose's complex professional and personal lives are handled with a deftness of touch, including his pacifism, his work as a biographer and art historian, as well as his unconventionality, especially in his two marriages — including that to Lee Miller — and his numerous love affairs.Less
As an artist, an impresario, a biographer and a collector, Roland Penrose (1900–1984) is a key figure in the study of modern art in England. This book explores the intricacies of Penrose's life and work, tracing the profound effects of his upbringing in a Quaker household on his values, the early influence of Roger Fry, and his friendships with Max Ernst, André Breton and other surrealists, especially Paul Éluard. Penrose's conflicted relationship with Pablo Picasso, his tireless promotion of surrealism and the production of his own surrealist art are also discussed. Penrose's complex professional and personal lives are handled with a deftness of touch, including his pacifism, his work as a biographer and art historian, as well as his unconventionality, especially in his two marriages — including that to Lee Miller — and his numerous love affairs.
Kyle Gann
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252035494
- eISBN:
- 9780252094569
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252035494.003.0006
- Subject:
- Music, History, American
This chapter attempts to provide an overview of Atalanta (Acts of God) (1982–87), which comprises three operas. Each opera focuses on one “apple,” or character, in Ashley's reinterpretation of the ...
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This chapter attempts to provide an overview of Atalanta (Acts of God) (1982–87), which comprises three operas. Each opera focuses on one “apple,” or character, in Ashley's reinterpretation of the ancient Greek myth. In Ashley's idiosyncratic cosmology, the three golden apples thrown in front of Atalanta are transformed into three characters: the great jazz pianist Bud Powell; Ashley's uncle Willard Reynolds, described by Ashley as a shaman or storyteller; and the surrealist painter (and Mimi Johnson's late uncle) Max Ernst. Max, Willard, and Bud represent three aspects of opera: image, narrative, and music. In addition, the chapter briefly profiles two singers Ashley had met during the making of Atalanta and who would later become permanent members of his ensemble: Thomas Buckner and Jacqueline Humbert.Less
This chapter attempts to provide an overview of Atalanta (Acts of God) (1982–87), which comprises three operas. Each opera focuses on one “apple,” or character, in Ashley's reinterpretation of the ancient Greek myth. In Ashley's idiosyncratic cosmology, the three golden apples thrown in front of Atalanta are transformed into three characters: the great jazz pianist Bud Powell; Ashley's uncle Willard Reynolds, described by Ashley as a shaman or storyteller; and the surrealist painter (and Mimi Johnson's late uncle) Max Ernst. Max, Willard, and Bud represent three aspects of opera: image, narrative, and music. In addition, the chapter briefly profiles two singers Ashley had met during the making of Atalanta and who would later become permanent members of his ensemble: Thomas Buckner and Jacqueline Humbert.
