By Ira Nadel (auth.)

ISBN-10: 113732337X

ISBN-13: 9781137323378

ISBN-10: 1349453811

ISBN-13: 9781349453818

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Extra resources for Modernism’s Second Act: A Cultural Narrative

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Everything about them was exactly like the photographs we had seen except themselves; they were not the least bit like we thought they would be” (WL 558). Paradox emerges: the French “neither noticed nor ignored the Germans, displaying what the French call retenue. After three weeks, the Germans left and life returned to normal. Commenting on the fall of the Third Republic, she stresses everyone’s indifference. 1057/9781137323378 Art and Occupation 25 continued. Gasoline and butter became scare but there was wine, bread, and vegetables.

When I paint [,] my object is to show what I have found, not what I am looking for” (Galenson 8). Speaking in a voice similar to Pound’s, Picasso declared, “I have never made trials or experiments. Whenever I had something to say, I have said it in the manner in which I have felt it ought to be said” (Galenson 9). Picasso planned his paintings carefully in advance as Pound often researched and gathered materials for The Cantos before he wrote. 16 As Picasso famously said, “I paint objects as I think them, not as I see them” (Galenson 9).

The Germans were always polite and correct, she notes, speaking quietly and even “slightly sad” (WL 558). “Everything about them was exactly like the photographs we had seen except themselves; they were not the least bit like we thought they would be” (WL 558). Paradox emerges: the French “neither noticed nor ignored the Germans, displaying what the French call retenue. After three weeks, the Germans left and life returned to normal. Commenting on the fall of the Third Republic, she stresses everyone’s indifference.

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Modernism’s Second Act: A Cultural Narrative by Ira Nadel (auth.)


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