Proust’s mid-career struggles with writing led him to art criticism, which provides clues to the qualities prized by readers of In Search of Lost Time.
Through willful imitation of Japanese art, van Gogh became the van Gogh we know, perhaps the world’s most famous painter.
In recent decades, living and working in and around Cape Cod, Paul Resika’s imagery has veered between the naturalistic and the mythical.
During the decades that Northern Ireland’s paramilitary violence garnered worldwide attention, most people were busy making ends meet.
Questions posed in a two-artist exhibition at Tate Liverpool reflect back on our own politically desperate era, often with eerie resonance.
Benjamin’s gargantuan Arcades Project brims with philosophical propositions, poetic digressions, lyrical aphorisms, and experimental theses.
There once was a time when the resistance movements of New York pushed back against the regimenting, state-sponsored programs known as “urban renewal.”
Jean Genet believed that money was inherently evil and the quest for power was a form of necrophilia.
Although the poetry of William Butler Yeats is often misconstrued as autobiographical, the poet scorned such transparency, calling it “unimaginative” and comparing realism to “putting photographs in a plush frame.”
How did a sharply dressed insurance agent with a desultory love life, who preferred brothels to relationships, who held crappy middle management jobs before retiring early due to poor health, become, as his one-time lover Milena Jesenská puts it, a “clairvoyant” storyteller, let alone one with a still-unrivalled capacity to take readers deep into the cold core of what it means to be alone and to be human?
In a socially boisterous art world inspired by Existentialism, jazz, and booze, Richard Pousette-Dart preferred introversion, secular spiritualism, and depth psychology.
“I never wanted to be a poet,” says the famously prolific poet Lawrence Ferlinghetti in “More Light,” an autobiographical essay about his first ambitions as a painter.