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| Arshile Gorky, The Betrothal, oil on paper, 1947 |
The new word (if we decide we want to go with a new word for this last week) is a double selection:
INCLUDE / SOAR
(I was also thinking of OPEN...) All good starting points for an end-of-semester project and for work to come...!
During
the 1940s the fertility of nature and humanity became a constant theme
in Gorky's work. Since at least the '30s, Gorky's letters to his sister
were filled with references to their father's garden in Khorkom and a
deep longing for the Armenian countryside.7
Frequent stays in the Connecticut and Virginia countryside from 1942
until his death in 1948 intensified Gorky's memories of Armenia. In a
letter to his sister dated 22 April 1944, for example, shortly before an
extended visit to the Virginia farm owned by his wife's family, Gorky's
anticipation merges with memories of Khorkom: "I dream of it always and
it is as if some ancient Armenian spirit within me moves my hand to
create so far from our homeland the shapes of nature we loved in the
gardens, wheat fields, and orchards of our Adoian family in Khorkom."8
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.G9nbkKQk.dpuf
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.G9nbkKQk.dpuf
During
the 1940s the fertility of nature and humanity became a constant theme
in Gorky's work. Since at least the '30s, Gorky's letters to his sister
were filled with references to their father's garden in Khorkom and a
deep longing for the Armenian countryside.7
Frequent stays in the Connecticut and Virginia countryside from 1942
until his death in 1948 intensified Gorky's memories of Armenia. In a
letter to his sister dated 22 April 1944, for example, shortly before an
extended visit to the Virginia farm owned by his wife's family, Gorky's
anticipation merges with memories of Khorkom: "I dream of it always and
it is as if some ancient Armenian spirit within me moves my hand to
create so far from our homeland the shapes of nature we loved in the
gardens, wheat fields, and orchards of our Adoian family in Khorkom."8
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.G9nbkKQk.dpuf
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.G9nbkKQk.dpuf
During
the 1940s the fertility of nature and humanity became a constant theme
in Gorky's work. Since at least the '30s, Gorky's letters to his sister
were filled with references to their father's garden in Khorkom and a
deep longing for the Armenian countryside.7
Frequent stays in the Connecticut and Virginia countryside from 1942
until his death in 1948 intensified Gorky's memories of Armenia. In a
letter to his sister dated 22 April 1944, for example, shortly before an
extended visit to the Virginia farm owned by his wife's family, Gorky's
anticipation merges with memories of Khorkom: "I dream of it always and
it is as if some ancient Armenian spirit within me moves my hand to
create so far from our homeland the shapes of nature we loved in the
gardens, wheat fields, and orchards of our Adoian family in Khorkom."8
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.G9nbkKQk.dpu
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.G9nbkKQk.dpu
During
the 1940s the fertility of nature and humanity became a constant theme
in Gorky's work. Since at least the '30s, Gorky's letters to his sister
were filled with references to their father's garden in Khorkom and a
deep longing for the Armenian countryside.7
Frequent stays in the Connecticut and Virginia countryside from 1942
until his death in 1948 intensified Gorky's memories of Armenia. In a
letter to his sister dated 22 April 1944, for example, shortly before an
extended visit to the Virginia farm owned by his wife's family, Gorky's
anticipation merges with memories of Khorkom: "I dream of it always and
it is as if some ancient Armenian spirit within me moves my hand to
create so far from our homeland the shapes of nature we loved in the
gardens, wheat fields, and orchards of our Adoian family in Khorkom."8
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.G9nbkKQk.dpu
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.G9nbkKQk.dpu
During
the 1940s the fertility of nature and humanity became a constant theme
in Gorky's work. Since at least the '30s, Gorky's letters to his sister
were filled with references to their father's garden in Khorkom and a
deep longing for the Armenian countryside.7
Frequent stays in the Connecticut and Virginia countryside from 1942
until his death in 1948 intensified Gorky's memories of Armenia. In a
letter to his sister dated 22 April 1944, for example, shortly before an
extended visit to the Virginia farm owned by his wife's family, Gorky's
anticipation merges with memories of Khorkom: "I dream of it always and
it is as if some ancient Armenian spirit within me moves my hand to
create so far from our homeland the shapes of nature we loved in the
gardens, wheat fields, and orchards of our Adoian family in Khorkom."8
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.EapCPz
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.EapCPz
During
the 1940s the fertility of nature and humanity became a constant theme
in Gorky's work. Since at least the '30s, Gorky's letters to his sister
were filled with references to their father's garden in Khorkom and a
deep longing for the Armenian countryside.7
Frequent stays in the Connecticut and Virginia countryside from 1942
until his death in 1948 intensified Gorky's memories of Armenia. In a
letter to his sister dated 22 April 1944, for example, shortly before an
extended visit to the Virginia farm owned by his wife's family, Gorky's
anticipation merges with memories of Khorkom: "I dream of it always and
it is as if some ancient Armenian spirit within me moves my hand to
create so far from our homeland the shapes of nature we loved in the
gardens, wheat fields, and orchards of our Adoian family in Khorkom."8
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.EapCPzRf.dpuf
According to Ethel Schwabacher, the painter's former pupil and close friend, Gorky began the theme of The Plough and the Song during that nine-month stay in Virginia in 1944, and executed the Oberlin study and many other drawings out of doors.9 A letter of December 1944 to his sister contains what seems to be Gorky's earliest written (published) reference to the figure of the plow. He writes that he had been drawing Armenian plows, and that he had carved one from wood as a gift to his nephew: "You cannot imagine the fertility of forms that leap from our Armenian plows, the plow our ancestors used for thousands of years of toil and gaiety and hardship and poetry."10
A. Kurlander - See more at: http://www.oberlin.edu/amam/Gorky_Plough.htm#sthash.EapCPzRf.dpuf
