The Andrew Wyeth Chronicles
Autor Janée Baugheren Limba Engleză Paperback – 19 feb 2026
The Andrew Wyeth Chronicles presents an imaginative narrative of the painter’s creative life, rife with both losses and pleasures. Janée J. Baugher employs the footnote form to write a book-length narrative of ekphrastic poetry in which the character of Andrew Wyeth chronicles his internal musings. The sixty-three Wyeth paintings that influenced these poems (dated 1938 through 2008) are the ones in which Baugher delighted in how the quotidian is made tender, like a white sheet drying outside on the line or sunflowers’ shadows against a house.
Studying the work of this particular artist was a decades-long meditative practice of deep looking, a method by which the author detaches from her ego. Wyeth’s paintings, drawings, and watercolors became portals through which she could imagine worlds beyond her immediate awareness and in which she could explore linguistic possibilities.
Preț: 99.66 lei
Precomandă
Puncte Express: 149
Preț estimativ în valută:
17.64€ • 20.68$ • 15.49£
17.64€ • 20.68$ • 15.49£
Carte nepublicată încă
Doresc să fiu notificat când acest titlu va fi disponibil:
Se trimite...
Preluare comenzi: 021 569.72.76
Specificații
ISBN-13: 9781961209534
ISBN-10: 1961209535
Pagini: 76
Dimensiuni: 152 x 229 x 10 mm
Greutate: 0.2 kg
Editura: Tupelo Press
Colecția Tupelo Press
ISBN-10: 1961209535
Pagini: 76
Dimensiuni: 152 x 229 x 10 mm
Greutate: 0.2 kg
Editura: Tupelo Press
Colecția Tupelo Press
Notă biografică
Janée J. Baugher is the author of the only craft book of its kind, The Ekphrastic Writer: Creating Art-Influenced Poetry, Fiction and Nonfiction, as well as the full-length poetry collections, The Body’s Physics and Coördinates of Yes. In 2008, she held a two-year post as a Humanities Washington Inquiring Minds Speaker, in which she lectured across Washington State on writers and visual artists of the Lost Generation. Her poetry has been adapted for the stage and set to music at the University of Cincinnati–Conservatory of Music, Contemporary Dance Theatre (Ohio), Interlochen Center for the Arts, Dance Now! Ensemble (Florida), Otterbein University, and the University of North Carolina-Pembroke. Educated at Boston University and Eastern Washington University, Baugher has been a featured poet at the Library of Congress and on Seattle Channel TV. Recently, she was a judge for the Frame to Frames: Your Eyes Follow Ekphrastic Poetry Film Prize (Fotogenia Festival, Mexico City). She’s a longtime assistant editor at Boulevard magazine and lives in Seattle, where the Office of Arts & Culture awarded her a 2024-25 CityArtist grant.
Cuprins
Contents
Section I.
Self Portrait, 1938
Self Portrait, 1939
Frog Hunters in the Brandywine Valley, 1941
Pennsylvania Landscape, 1942
Public Sale, 1943
Sycamore Tree and the Hunter, 1943
Baby Owl, 1944
John Olson’s Funeral, 1945
Winter, 1946
Wind from the Sea, 1947
Christina Olson, 1947
Christina’s World, 1948
Revenant, 1949
Soaring, 1942-1950
Section II.
Trodden Weed, 1951
Faraway, 1952
Nicholas, 1955
Chambered Nautilus, 1956
Mill Buildings, 1959
Groundhog Day, 1959
Young Bull, 1960
Geraniums, 1960
Independence Day, 1961
Distant Thunder, 1961
Wood Stove, 1962
The Patriot, 1964
Master Bedroom, 1965
Frosted Apples, 1967
The Sweep, 1967
Anna Christina, 1967
Alvaro and Christina, 1968
End of Olsons, 1969
Section III.
Evening at Kuerners, 1970
Spruce Grove, 1970
The Kuerners, 1971
Anna Kuerner, 1971 45. Off at Sea, 1972
From my Window, 1974
The German, 1975
48. Anna Climbing the Stairs, 1975 49. Home Comfort, 1976
50. Pine Baron, 1976
51. Sea Boots, 1976
52. Loden Coat, 1978 53. Braids, 1979
54. Night Sleeper, 1979 55. Night Shadow, 1979 56. Cape Coat, 1982 57. Sycamore, 1982
\58. Untitled (Tree House Study), 1982 Section IV.
60. Sunflowers, 1982
61. Adrift, 1982
62. Pentecost, 1989
63. Love in the Afternoon, 1992 64. Marriage, 1993
65. Messersmith’s, 1994 66. Airborne, 1996
67. Road to the Mill, 2001 68. The Carry, 200369. Gone Ashore, 2003
70. Cosmos, 2005
71. Eagle Eye, 2007
72. Good-Bye, My Love, 2008
73. Works Cited 75. Citations
Section I.
Self Portrait, 1938
Self Portrait, 1939
Frog Hunters in the Brandywine Valley, 1941
Pennsylvania Landscape, 1942
Public Sale, 1943
Sycamore Tree and the Hunter, 1943
Baby Owl, 1944
John Olson’s Funeral, 1945
Winter, 1946
Wind from the Sea, 1947
Christina Olson, 1947
Christina’s World, 1948
Revenant, 1949
Soaring, 1942-1950
Section II.
Trodden Weed, 1951
Faraway, 1952
Nicholas, 1955
Chambered Nautilus, 1956
Mill Buildings, 1959
Groundhog Day, 1959
Young Bull, 1960
Geraniums, 1960
Independence Day, 1961
Distant Thunder, 1961
Wood Stove, 1962
The Patriot, 1964
Master Bedroom, 1965
Frosted Apples, 1967
The Sweep, 1967
Anna Christina, 1967
Alvaro and Christina, 1968
End of Olsons, 1969
Section III.
Evening at Kuerners, 1970
Spruce Grove, 1970
The Kuerners, 1971
Anna Kuerner, 1971 45. Off at Sea, 1972
From my Window, 1974
The German, 1975
48. Anna Climbing the Stairs, 1975 49. Home Comfort, 1976
50. Pine Baron, 1976
51. Sea Boots, 1976
52. Loden Coat, 1978 53. Braids, 1979
54. Night Sleeper, 1979 55. Night Shadow, 1979 56. Cape Coat, 1982 57. Sycamore, 1982
\58. Untitled (Tree House Study), 1982 Section IV.
60. Sunflowers, 1982
61. Adrift, 1982
62. Pentecost, 1989
63. Love in the Afternoon, 1992 64. Marriage, 1993
65. Messersmith’s, 1994 66. Airborne, 1996
67. Road to the Mill, 2001 68. The Carry, 200369. Gone Ashore, 2003
70. Cosmos, 2005
71. Eagle Eye, 2007
72. Good-Bye, My Love, 2008
73. Works Cited 75. Citations
Recenzii
“The first two poems of The Andrew Wyeth Chronicles so excited me that I had to stop reading, stand up and leave the room, and cross a few items off my daily list of things to do before I could return to the manuscript—I knew I wouldn’t be able to judge the manuscript fairly if I just rode that initial buzz to the end. But as I walked down the hall, and then down the stairs, I was thinking about those poems, and in particular about the form in which the poet had chosen to write them—each poem is a series of numbered notes, some lineated, some written like prose, each note implicitly guiding the reader to more information about a poem’s titular painting. The notes brilliantly stitch the act of composition to the page while also holding the poems open—the best lyric poems, after all, are finally irresolvable; they cannot be finished, closed. Via the notes, one sees through the paintings to which they refer, and imagines oneself in the position of Andrew Wyeth himself, a step away from the painting he has just made, or is making, so that one traces the poet’s ekphrastic experience from behind the painting, as it were, rather than in front of it. What a strange, impossible effect! But in The Andrew Wyeth Chronicles it is achieved again and again. And it’s an effect I couldn’t, it turns out, walk away from, and having done the things I had stood up to do, I climbed the stairs, walked back to my desk, and sat down to The Andrew Wyeth Chronicles again, still buzzing, held open.”