“The Waste Land” by T.S. Eliot

 

Option 1: Choose a work to discuss from one genre that interprets a work from another genre.
• Include the title, artist, and description of both works.
• Examine how the artist of the second work captured the subject or story of the first.
• Support your point(s) with a statement from the second artist that discusses the influence, reasoning, or interpretation of the original work on the second work.
Title: “The Waste Land” by T.S. Eliot interpreted by Robert Motherwell’s “Elegies to the Spanish Republic” series

The abstract expressionist “Elegies to the Spanish Republic” paintings by Robert Motherwell were produced in the 1950s as a reaction to the Spanish Civil War. The shapes and lines of Motherwell’s paintings evoke a sense of sorrow and despair, and the artist employed black and white to convey a sense of grieving and loss.

The poem “The Waste Land” by T.S. Eliot serves as the direct inspiration for one of the works in the series, “Elegy to the Spanish Republic No. 100.” The picture has an abstract black-and-white design that is reminiscent of the disjointed visuals and depressing mood of Eliot’s poem.

Motherwell noted that he was intrigued to Eliot’s poetry because of its complexity and ambiguity, which allowed him to develop his own interpretations and responses to it, in an interview with the Art Institute of Chicago. He said, “With its subtle allusions and parallels to many cultures and different literatures, I felt that I had a comparable in Eliot’s poem.”

The way Motherwell depicts the sense of desolation and disintegration that is prevalent in “Elegy to the Spanish Republic No. 100” shows the influence of “The Waste Land” on the poem. Similar to how Eliot’s poem laments the loss of culture and civilization, the abstract composition and black and white colors of the artwork evoke a sense of sadness and loss.

In addition to Motherwell’s own words, the academic work “Robert Motherwell: The Elegies to the Spanish Republic” by Mary Ann Caws offers additional information about the connection between Motherwell’s series and Eliot’s

poem. Eliot’s poetry and Motherwell’s paintings, according to Caws, both deal with the fallout from violence and the issue of how to produce art and meaning in the wake of catastrophe.

Overall, “Elegy to the Spanish Republic No. 100” is a potent illustration of how poetry may influence and enlighten abstract expressionist painting. Eliot’s poem’s mood and ideas are visually and artistically expressed in the artwork through its use of color, form, and arrangement.

 

 

Sample Solution

in Congress. “The WASP program’s development was unlike that of any other women’s auxiliary, but all women’s detachments of the U.S. military faced opposition to their existence and continuance from the military, Congress, and the public, an opposition arose solely from the gender of those who comprised these auxiliaries.” Their battle for militarization and quest for veteran status became the main goal for the program and part of their long-lasting legacy. “The most egregious example of discrimination WASP encountered was the failure of the military to bestow veteran status on their members. During the program’s two-year duration, the brave women who served as WASPs were considered paid volunteers. “They are civil employees but they are in the Army Air Forces and they are, despite some rough going, little by little being considered as of the Army Air Forces.” Despite performing many of the same tasks, the women’s title of “civil employee” is harshly juxtaposed to their male counterparts, who were granted military status and thus reaped the ensuing benefits. On July 1, 1943, the Women Army Auxiliary Corps became the Women’s Army Corps (WAC) and by an act of Congress, was granted full military status. There was much controversy over whether or not the WASP program would join the WAC to obtain its militarization. However, “Jackie Cochran believed that such an organizational shift would entangle her pilots in Army bureaucracies, and hinder her plans to broaden their duties.” Without being confined by the WAC, Cochran and her WASPs continued the fight for military status. Despite continued efforts and repeated appeals to Congress long after their disbandment, the WASP program was not militarized until 1977. “President Carter signed the bill into law on November 23, 1977, one day before Thanksgiving, officially declaring the Women’s Airforce Service Pilots as having served on active duty in the Armed Forces of the United States for the purposes of laws administered by the veterans of the Army Air Forces.” Almost forty years after World War II, the WASPs’ other battle had come to a victorious end.

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