After Impressionism: Poetry and Painting, 1874-1914

Rob Harris

doi:10.1017/9781009534765

Impressionist painting was the dominant art form of its time, and one to which English-speaking poets were profoundly responsive. Yet the relationship between impressionism and poetry has largely been overlooked by literary critics. After Impressionism rectifies this oversight by offering the first extended account of impressionism's transformative impact on anglophone verse. Through close readings of the creative and critical writings of Arthur Symons, W. B. Yeats, Ford Madox Ford, the Forgotten School of 1909 and Ezra Pound, it argues that important ideas in the history of modern poetry-ideas such as decadence, symbolism, vers libre and imagism-were formulated as expressions of (or sometimes as antidotes to) impressionist aesthetics. In doing so, it suggests that impressionism was one of the crucial terms-often the crucial term-through and against which English verse of the late nineteenth and early twentieth centuries was defined. This title is also available as open access on Cambridge Core.

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Contents

After Impressionism
pp i-ii
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After Impressionism - Title page
pp iii-iii
Poetry and Painting, 1874–1914
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Copyright page
pp iv-iv
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Dedication
pp v-vi
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Contents
pp vii-vii
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Figures
pp viii-viii
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Acknowledgements
pp ix-x
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Note on the Text
pp xi-xii
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Abbreviations
pp xiii-xiv
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Preface
pp 1-6
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Introduction
pp 7-50
Impressionism and Irregularity
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Chapter 1 - ‘Insane Thinking’
pp 51-86
The Impressionism of Arthur Symons
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Chapter 2 - Escaping Impressionism
pp 87-123
Titian, Manet, Early Yeats
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Chapter 3 - On or about 1909
pp 124-161
Ford Madox Ford, the Forgotten School and Vers Libre
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Chapter 4 - ‘Not Impressionism’
pp 162-197
The Imagisme of Ezra Pound
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Afterword
pp 198-203
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Bibliography
pp 204-222
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Index
pp 223-230
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After Impressionism

Poetry and Painting, 1874-1914

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