Exchanging hats : paintings
Author(s)
Bibliographic Information
Exchanging hats : paintings
Carcanet, 1997
Available at 4 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Originally published: New York : Farrar, Strauss & Giroux, 1996
Description and Table of Contents
Description
`They are Not Art -- NOT AT ALL,' Elizabeth Bishop insists. Forty of her pictures are here tracked down and reproduced in full colour by poet and art writer William Benton, who provides an introduction and an anthology of Miss Bishop's formal and informal prose on the subject of art and artists. `If Elizabeth Bishop wrote like a painter,' Benton says, `she painted like a writer. All her paintings are small, on sheets of paper the same size that one might write a poem on.' The earliest dates from 1937, the last from the year before her death. Most are gouaches and water-colours. It was not until 1993 that they were gathered (after sleuthing in archives and among her friends) and exhibited at the East Martello Tower Museum, in Key West where she had lived between 1938 and 1948. This was the first time the world at large knew her as a painter, but it might have guessed at her skills from the poems with their painterly eye and subtle tonalities.
Her vivid gallery poem `Over 2,000 Illustrations and a Complete Concordance' comes to mind as readers encounter Miss Bishop's quiet scenes of New York, Newfoundland, Florida, Yucatan, Brazil, her occasional portraits and still lives, vital and mysterious as the poems, but their reality unrehearsed and not correctable.
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