AtD, where the theme of spying begins in it.
barbie gaze
barbiegaze at gmail.com
Tue Feb 14 06:02:00 CST 2012
As usual, I'm problee juss way wrong on this, again, and I'm not very
studied in the period, more a Jacksonian/American Renaissance Romantic type
gal, but....I wuz struck by the idea that Pynchon, who has a good knowledge
of photo and film, and painting as well, and is keen to mix in the genres,
might be looking at our times more than, say, Emersons (although I much
appreciate Mark K's readin of the eyeball), and is doing so with allusions
to the period's setting so allusions to the free love free art movement and
the Social censorships sweeping East to West. So, naked eyeball blinded by
the light.
The artistic freedom of the classical world that Eakins strove to bring to
life in his academic programs at the Pennsylvania Academy of the Fine Arts
(and in his Arcadian paintings) also appears as an important element in
many of his nude studies with the camera. These photographs, far more than
the paintings, celebrate the male physique; even today, more than a century
after their creation, their unabashed frontal nudity still has the power to
shock contemporary eyes.
*Department of Photographs*, The Metropolitan Museum of Art
http://www.metmuseum.org/toah/hd/eaph/hd_eaph.htm
On Tue, Feb 14, 2012 at 5:36 AM, barbie gaze <barbiegaze at gmail.com> wrote:
> And his works won awards at the White City Expo, this, despite the fact
> that he was run out of the East for taking photographs of people in the
> nude; he was a teacher and an important inovator in photography and film.
> He was a friend to Walt Whitman and many a romantic, though, as you noted,
> he was something of an anti-romantic artist.
>
> On Mon, Feb 13, 2012 at 10:06 PM, David Morris <fqmorris at gmail.com> wrote:
>
>> Thomas Eakins should not be the subject of literrary converse, except for
>> pynchon.
>> Eakins was at the vanguard of Moderism. He was also a great painter.
>>
>
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