{"id":10468,"date":"2010-04-16T01:17:25","date_gmt":"2010-04-16T05:17:25","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=10468"},"modified":"2010-04-16T01:17:25","modified_gmt":"2010-04-16T05:17:25","slug":"frye-and-the-mona-lisa","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2010\/04\/16\/frye-and-the-mona-lisa\/","title":{"rendered":"Frye and the Mona Lisa"},"content":{"rendered":"

\"mona\"<\/a><\/p>\n

Further to Michael’s post<\/a><\/em><\/strong><\/p>\n

\u201cI must run across to the Louvre now, as it is getting late. The mob always goes straight to the Mona Lisa as the greatest drawing card. I\u2019m a little annoyed with Leonardo just now. That miserable Bacchus and John the Baptist\u2014which are of course open to doubt as to their authenticity\u2014with their sickly smiles and their rather cloying chiaroscuro\u201d (Frye to Helen Kemp. 25 September 1938)<\/p>\n

Two years earlier Frye had reported to Helen on his visit to the Art Institute in Chicago:<\/em> \u201cThe Art Institute has a special exhibit which I have visited twice, once with [my sister] Vera, once with Eleanor [Craig].\u00a0 Renaissance painting–Tintoretto, Titian, two Leonardos\u2011\u2011one called the \u201cMadonna of the Yarn Spinners,\u201d a magnificent Italian Madonna, with the same inscrutable Mona Lisa smile, and the freshest and rosiest youngster I have ever seen.\u00a0 Some of the representations of the Christ\u2011Child are almost blasphemous\u2011\u2011he looks sometimes like a manikin of forty, sometimes like a wizened old priest.\u00a0 One Raphael\u2011\u2011very simple but breath\u2011taking\u2011\u2011a man dressed in black.\u00a0 Two Botticellis\u2011\u2011one I could have sworn was modern French.\u00a0 Our old friend Lippo Lippi, and one of his incubi, Fra Angelico.\u00a0 (Try your hand at Fra Lippo Lippi sometime, contrasting the medieval type with Early Renaissance in initial letters or marginal designs.)\u00a0 The Renaissance pictures were all very soft and quiet in color.\u00a0 But the medieval ones were different.\u00a0 Nearly all of them had gold backgrounds, and the figures were splashes of brilliant reds and greens.\u00a0 The haloes were bewilderingly ornamented.\u00a0 Poses stiff and architectural, often notably Byzantine.\u00a0 But a sort of quaint childlike humor all through.\u00a0 One picture of the Last Supper shows a little spaniel in the foreground gnawing a bone.\u00a0 One Madonna and Child shows the latter with his fist stuck in a dish of candy.\u00a0 A weird one of John the Baptist\u2019s head brought to Sabine has a moving picture effect.\u00a0 The head appears twice, and so do three attendants, at different stages in the procession.\u00a0 I liked these medieval pictures best of all, I think.\u00a0 Then the Dutch school.\u00a0 Some rare humor here too.\u00a0 One a young group of smokers trying to blow rings.\u00a0 A beautiful Rembrandt\u2011\u2011\u201cGirl at Half\u2011open Door\u201d and a portrait of his father.\u00a0 Several Franz Hals\u2011\u2011all the \u201cLaughing Cavalier\u201d type.\u00a0 And an exquisite picture of a \u201cWoman Weighing Gold.\u201d\u00a0 And so on.\u00a0 The Dutch primitives disappointed me a bit.\u00a0 There is an English room\u2011\u2011several graceful Gainsboroughs, a Romney, Reynolds, Raeburn, Zoffany, and Hogarth.\u00a0 American colonial painting, including the two famous Gilbert Stuart portraits of Washington.\u00a0 Whistler\u2011\u2011the great portrait of his mother\u2011\u2011one of the biggest attractions\u2011\u2011a superb picture in gray and black.\u00a0 And the Thames \u201cnocturne\u201d\u2011\u2011the one that started the row with Ruskin.\u00a0 Sargent\u2011\u2011a lovely study of an Egyptian nude girl\u2011\u2011surprisingly slim for the Orient.\u00a0 Modern French too\u2011\u2011a room full of Matisse and Picasso.\u00a0 That man Matisse knew how to handle color.\u00a0 A picture of Picasso\u2019s of a youngster eating out of a bowl called \u201cLe Gourmet\u201d is very popular\u2011\u2011Eleanor said it was her favourite\u201d (Frye to Kemp, 1 July 1933).<\/p>\n

From Northrop Frye\u2019s Student Essays<\/em>: \u201cThe relation of the artist to the scientist boils down to one very similar to his relation to the moralist or propagandist.\u00a0 The scientist explains, and his words and images denote; the artist suggests, and his words and images connote.\u00a0 No two people will look at a picture in the same way; and if I am looking at one, all the other possible reactions to it, which I may or may not share, form a sort of nimbus around my head, which I try to get away from.\u00a0 If I am looking at Mona Lisa<\/em>, for instance, I withdraw into myself in order to escape from both Walter Pater, except by responding to a meaning in the picture essentially \u201cevocative\u201d and \u201cspell\u2011bearing\u201d (CW 3, 377).<\/p>\n

<\/p>\n

\u2013 \u2013 \u2013 \u2013<\/p>\n

A number of poems have been written about the Mona Lisa<\/em>.\u00a0 They include:<\/p>\n

Walter Pater, Mona Lisa<\/em>.\u00a0 In D.G. Kehl, Poetry and the Visual Arts<\/em>.\u00a0 Belmont, CA: Wadsworth Publishing Co., 1975.<\/p>\n

Pater\u2019s poem also appears in Gilbert Kranz\u2019s Gedichte auf Bilder: Anthologie und Galerie<\/em>.\u00a0 M\u00fcnchen:\u00a0 Deutscher Tashenbuch Verlag, 1976.\u00a0 In addition to Pater\u2019s poem, Kranz anthologizes the following:<\/p>\n

Edward Dowden, Mona Lisa<\/em><\/p>\n

Michael Field, La Gioconda, by Leonardo da Vinci <\/em><\/p>\n

Jaroslaw Vrchlick\u00fd, Mona Lisa <\/em><\/p>\n

Manuel Machado, Die Gionconda<\/em>, German trans. from the Spanish <\/em><\/p>\n

Gustav Fr\u00f6ding, Mona Lisa<\/em><\/p>\n

Hermann Claudius, Mona Lisa<\/em><\/p>\n

Thomas McGreevy, Gioconda <\/em><\/p>\n

Cor Klinkenbijl, Mona Lisa <\/em><\/p>\n

Zbigniew Herbert, Mona Lisa<\/em><\/p>\n

Kurt Tucholsky, Der L\u00e4cheln der Mona Lisa <\/em><\/p>\n

Birthe Arnback, Mona Lisa <\/em><\/p>\n

Thorkild Bj\u00f8rnvig, Mona Lisa <\/em><\/p>\n

Jess \u00d8rnsbo, Mona Lisa <\/em>[<\/p>\n

Peter Spaan, Da Vinci. La Gioconda <\/em><\/p>\n

Bruno Stephan Scherer, Die Frau. Leonardo da Vinci: Mona Lisa<\/em><\/p>\n

 <\/p>\n

Edith Wharton, Mona Lisa<\/em>.\u00a0 In John Hollander, The Gazer\u2019s Spirit: Poems Speaking to Silent Works of Art<\/em>.\u00a0 Chicago: University of Chicago Press, 1995.<\/p>\n

Nuhi Vinca, * * *<\/em> [Leonardo Da Vinci, Mona Lisa<\/em>], and Sadije Haliti, Mona Lisa<\/em>.\u00a0 In Vladimir Martinovski, ed., Ut Pictura Poesis: Poetry in Dialogue with the Plastic Arts: A Thematic Selection of Contemporary Macedonian Poetry<\/em>.\u00a0 Trans. Zoran Anc\u00edevski.\u00a0 [Struga, Macedonia]: Struga Poetry Evenings, 2006.\u00a0\u00a0 <\/em><\/p>\n

Brian Strand, In the Gallery<\/em>.\u00a0 In Brian Strand.\u00a0 Poiema: A Selection of Ekphrastic Poems<\/em>.\u00a0 Rothesay, Isle of Butte, Scotland: Q.Q. Press, 2006.<\/p>\n

Jan\u00e9e J. Baugher, \u201cPortrait of Mona Lisa,\u201d<\/em> 1503<\/em>.\u00a0 In Mona Poetica Anthology<\/em> (Waupaca, WI: May Apple Press, 2005)<\/p>\n

Billy Collins, Sweet Talk<\/em>. \u00a0In American Poetry Review<\/em>, September 1995; and at http:\/\/valerie6.myweb.uga.edu\/intertextuality.html#three<\/p>\n

Alfred Dorn, Truant from the Louvre<\/em> [after a sonnet on Botticelli by Maria Sassi and written for a fantasy on the Mona Lisa<\/em>].\u00a0 In Ekphrasis<\/em> 1, no. 3 (Spring\u2013Summer 1998): 59<\/p>\n

Aimee Mackovic, Lisa\u2019s Lament<\/em>.\u00a0 In Aimee Mackovic, A Sentenced Woman<\/em> (Georgetown, KY: Finishing Line Press, 2007), 7<\/p>\n

Giovanni Malito, La Gioconda: Suite<\/em>.\u00a0 In Ekphrasis<\/em> 1, no. 5 (Spring\u2013Summer 1999): 18\u201319<\/p>\n

Quinn Rennerfeldt, The Mona Lisa<\/em>.\u00a0 In Cider Press Review<\/em> 8 (2007): 47<\/p>\n

Norma Richardson, On Looking into the Mona Lisa<\/em>.\u00a0 In Norma Richardson, Peeling Back the Dark<\/em> (San Francisco: San Francisco Bay Press Publishing, 2008<\/p>\n

John Stone, Three for the Mona Lisa<\/em>.\u00a0 In John Stone, Renaming the Streets<\/em> (Baton Rouge: Louisiana State University Press, 1985), 18<\/p>\n

William Carlos Williams,\u00a0 Tribute to the Painters<\/em>. \u00a0In The Collected Poems of William Carlos Williams<\/em>, ed., Christopher MacGowan, 2 vols. (New York: New Directions, 1988), 2:296\u20138<\/p>\n

Antonio de Zayas, La Gioconda<\/em>.\u00a0 In Antonio de Zayas, Retratos antigues<\/em> (Madrid, 1902), 30<\/p>\n

See also:<\/p>\n

Kennedy, X.J., Song: Hello, Dali<\/em> [on Dali\u2019s, Self\u2011Portrait as Mona Lisa <\/em>and other paintings].\u00a0 In X.J. Kennedy, Peeping Tom\u2019s Cabin: Comic Verse 1928\u20132008<\/em> (Rochester, NY: Boa Editions, 2007), 35.<\/p>\n

Frank Waaldjik, Op n Brandgans<\/em>.\u00a0 In Frank Waaldjik.\u00a0 Trijntje Fop<\/em>.\u00a0 http:\/\/home.hetnet.nl\/~sufra\/trijntjefop1.htm<\/a>.\u00a0 More than 100 light verse poems by a Dutch visual artist that refer, often glancingly, to well\u2011known art works.\u00a0 \u201cTrijntje Fop,\u201d the nom de plume of the Dutch poet Kees Stip, derives from the Dutch satirist Multatuli (pseudonym of Eduard Douwes Dekker).\u00a0 \u201cTryjntje Fop\u201d was the name of a character in a short poem in Multatuli Ideas<\/em>: \u201cMy name is Tryjntje Fop \/ And I have a cap on my head.\u201d\u00a0 The name has come to stand for light verse about animals with human characteristics.\u00a0 The poems ordinarily have six lines with an aabbcc<\/em> rhyme scheme, and are replete with puns, spoonerisms, and other paranomastic devices.\u00a0 They typically begin with \u201cOp n . . .\u201d (\u201cOn a . . .\u201d), as in On an Octopus<\/em> or On a Walrus<\/em>.\u00a0 Op n Brandgans<\/em>, the ninth poem that refers to a work of art, is on the Mona Lisa.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Further to Michael’s post \u201cI must run across to the Louvre now, as it is getting late. The mob always goes straight to the Mona Lisa as the greatest drawing card. I\u2019m a little annoyed with Leonardo just now. 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The mob always goes straight to the Mona Lisa as the greatest drawing card. I\u2019m a little annoyed with Leonardo just now. 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