Hemingway and pictorial art

UNCG Author/Contributor (non-UNCG co-authors, if there are any, appear on document)
Elizabeth L. Robbins (Creator)
The University of North Carolina at Greensboro (UNCG )
Web Site: http://library.uncg.edu/
Robert Stephens

Abstract: Hemingway's fiction, nonfiction and statements from interviews contain numerous references to pictorial artists. This study analyzes these references with the intention of clarifying his relationship to painting. By doing so, it sheds new light on Hemingway and his writing. The first and second chapters discuss the nature of Hemingway's debt to the painters he selected for his masters. Hemingway's Goya-esque treatment of man is the subject of the first chapter. Both men portray man with his animal nature, man at war and the concomitant horrors, the destiny of man and Nada, and the potentiality of the bullfight for human victory and defeat. Hemingway, like Goya, includes the ugliness of a situation in his art. Chapter two focuses on Hemingway's portrayal of the natural setting. The importance he placed upon the natural setting is established, then his acknowledged debt to Cezanne is explored. An analysis of Hemingway's renditions of landscape reveals his conscious attempt to emulate Cezanne's use of movement and changing perspective in his landscapes. Bruegel is a second landscape painter he selected for a master. Hemingway occasionally sought to render a landscape from a fixed perspective depicting man and nature as Bruegel did. He chose three innovators in pictorial art to teach him about the art of writing.

Additional Information

Language: English
Date: 1970
Hemingway, Ernest, $d 1899-1961 $x Criticism and interpretation
Hemingway, Ernest, $d 1899-1961 $x Knowledge $v Art
Art and literature

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