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Self-portrait; Self-Portrait in a Convex Mirror by John Ashbery: the portrait is the subject of a long poem in a poetry collection by Ashbery, both the poem and the collection of the same name. The book won all three of the major prizes awarded to collections by American poets.
Self-Portrait in a Convex Mirror Archived June 5, 2019, at the Wayback Machine at the National Book Foundation blog, including an essay on the poem by Evie Shockley and other information "Self-Portrait in a Convex Mirror" – the title poem in full, as first published in the August 1974 issue of Poetry magazine
Three Poems (1972) The Vermont Notebook (1975), illustrated prose poems; Self-portrait in a Convex Mirror (1975), awarded the Pulitzer Prize, the National Book Award [31] and the National Book Critics Circle Award; Houseboat Days (1977) As We Know (1979) Shadow Train (1981) A Wave (1984), awarded the Lenore Marshall Poetry Prize and the ...
The title poem is an extraordinary and quite inevitable extension of the New York tradition of major visionary poems, which goes from Poe’s ‘City in the Sea’ and Whitman's ‘Crossing Brooklyn Ferry’ to Hart Crane's The Bridge and Ashbery's ‘Self Portrait in a Convex Mirror.’ Corn achieves an authority and resonance wholly worthy of ...
The self-portrait supposes in theory the use of a mirror; glass mirrors became available in Europe in the 15th century. The first mirrors used were convex, introducing deformations that the artist sometimes preserved. A painting by Parmigianino in 1524 Self-portrait in a mirror, demonstrates the phenomenon.
Girolamo Francesco Maria Mazzola (11 January 1503 – 24 August 1540), also known as Francesco Mazzola or, more commonly, as Parmigianino (UK: / ˌ p ɑːr m ɪ dʒ æ ˈ n iː n oʊ /, [2] US: /-dʒ ɑː ˈ-/, [3] Italian: [parmidʒaˈniːno]; "the little one from Parma"), was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma.
The first known self-portrait was made in 1839 ... Selfies may have taken over social media over the past few years, but that doesn't mean they're a new thing. Technically speaking, one of the ...
The post-modern feeling for language is similar: words may be written, but can't mean. The result in Ashbery's case is some interesting exercises du style. But real poems are being written in England, in Australia, the Caribbean and the US by at least a dozen English-speaking poets who are committed to a language that lives and dies." [1]