Marchesa Elena Grimaldi Cattaneo
Sir Anthony van Dyck, 1623
Courtesy National Gallery of Art,
Washington
|
The Flemish painter, Sir Anthony van Dyck spent time in
Genoa improving his art and painting upper class women, including Marchesa
Elena Grimaldi Cattaneo. Notice how he presents the Marchesa. As you look at
the painting, which is in The National Gallery of Art in Washington, D.C., you
have no question about this woman’s status in life. The architecture of her
home and her stiff, elegant posture emphasize it. The National Gallery website
says, “The red sunshade held aloft extends her presence, forming a halo about her
head that contrasts against a dramatic sky and emphasizes our position beneath
hers.”
Genoa played a significant role in the slave trade,
something the artist could not ignore. The National Gallery website comments on
the presence of the African “attendant.” “His inclusion in her portrait
probably has an artistic source in the Italian Renaissance artist Titian, whom
Van Dyck admired and who portrayed black servants in his canvases.” In this
portrait, the African serving the needs of the marchesa emphasizes her wealth
and sense of entitlement. (You can read more about this painting at http://www.nga.gov/content/ngaweb/Collection/highlights/highlight1231.html).
Boy in a Red Waistcoat
Paul Cézanne, 1888-1890
Courtesy National Gallery of Art,
Washington
|
Now look at “The
Boy in the Red Waistcoat” by Paul Cezanne. This boy does not look as though he
considers himself entitled or better than others. To me, he looks wistful and
uncertain. As The National Gallery says, “The round-brimmed hat, positioned
high on his head gives him a certain naiveté, and the mussed bangs make him
seem young, even vulnerable. He appears pale and pensive, his small mouth
formed faintly, in Shapiro’s words, like the wings of a distant bird.” Cezanne
did not feel a need for the more momentous kind of background van Dyke drew on
to portray his subject.
What’s more,
this young man is not the Italian peasant boy he is pictured to be. He is a
professional model, and thus a “made-up” subject. (Read more at http://www.nga.gov/content/ngaweb/Collection/highlights/highlight93044.html.)
Portrait
Poems:
Some poems
are snapshots of a moment in time. Others are photographs or portraits of
individuals. They show us someone who startles us, annoys us, makes us smile.
Someone we recognize seem to recognize. Someone who moves us in some way.
I am very
fond of the following portrait poem by Chicago-area poet Myron Stokes.
The Whittler
On the porch
of a tin-roof shanty,
the whittler
whittles with patient tenderness.
His hands,
dark as sorghum molasses
are nicked
and marred
from cotton’s
wicked thorns.
He chips and
gouges,
reveals the
cedar’s salmon-hued grain.
Fragrant bark
tumbles in Aida Mae’s hollyhocks.
He whittles
below the sun’s molten glare,
sips chilled
well water from his jelly jar.
A bewildered
butterfly appears on noiseless wings,
keeps him
company for moments.
A gust of
wind turns the weathervane
and the
sheets, white as dogwood
undulate on
the line.
Aida Mae’s
cornhusk broom scratches the floor.
She sings,
“Blessed Assurance.”
He hums
along,
chipping and
gouging,
tendrils of
wood at his feet.
A liquid moon
moves over the towering pines.
The
hollyhocks are asleep for the night,
their perfume
still, without the fire of the sun.
He rises from
his cane-bottom chair,
brushes bits
of cedar from his chest and lap.
The house is
quiet,
bathed in
silver moonlight.
On the
cookstove, chicken, rice, biscuits,
and a pone of
spicy potato pudding.
He whispers
grace,
sups silently
on the gingham oilcloth.
He sheds,
with his overalls, the long day.
Makes his way
to the pine-scented sheets
and Aida
Mae’s arms.
~ Myron L.
Stokes
“The
Whittler” was first published in the Ellen
LaForge Poetry Pize Jourrnal, 2007. "The Whittler" won Most Highly Commended Award in the 2012 Tom Howard/John H. Reid Poetry Contest.
I respond to
the rich descriptive phrases in this poem. Stokes uses the whittler’s home,
activities, and spouse to help us visualize the whittler and understand the
personality, in ways that are similar to van Dyke’s artistic technics. Notice,
too, how many of the senses are used in his poem. I feel as though I can see
this whittler. I cannot tell from reading the poem whether this whittler is
someone in Stokes’ family, someone he saw while driving by the porch in the
poem, or someone he has created as Cezanne created the boy in his painting. Many
people appreciate Cezanne’s painting whether or not they know the boy is a
professional model; we can appreciate this portrait poem without knowing the
identity of the whittler, and whether he is someone known personally by the
poet. There is so much truth in the picture Stokes has drawn that only an
academic study of Stokes’ poetry would require knowledge of that fact.
Mary Jo
Balistreri, a Wisconsin poet, drew a word picture of her father:
Ancient Ritual
Dad, in his
long blue robe
and thinning
steel-gray hair,
enters the
spotless kitchen
in
worn-slippered feet.
Shadowed dawn
announces its
presence,
releases the
closed petals
of sleep to
the templed rhythm
of a new day.
Dad opens the
cupboard
with care,
removes
a
cherry-blossom plate—
his mother’s
best.
Setting the
breakfast table,
he arranges
the porcelain dishes
just so,
creates a spring garden
at each
setting forever green,
each branched
bloom reaching
toward light.
A Buddhist
monk, he walks
within his
life,
treads slow
measured steps,
gives
attention to each detail
as if it were
new.
He pours
brewed tea, concentrates
on the steady
stream pooling
in the
bone-thin cups,
follows the
steam
as it drifts
upward like incense.
This ancient
rite of morning began
in my
childhood, and I watch again
as Dad walks
to the draped window
to pull open
the day. For a moment,
he will stand
enfolded in mountain sun,
before he
turns to me and says,
Isn’t it fine.
~ Mary Jo Balistreri
“Annual Ritual” was originally
appeared in Bellowing Ark
We watched
the whittler end his day. We watch the dad in this poem as he “walks to the
draped window / to pull open” a new day with his morning ritual. Again, I can
see the subject of this portrait poem in my mind’s eye, smell his tea, and—it
seems—understand something of his personality.
I know this
is really a poem about Balistreri’s dad because she told me so. I like the way
he is set in a curtained kitchen with flowered dishes, and steam rising above
tea cups “like incense,” and how that incense and the man’s slow, contemplative
movements turn him into a monk in the poet’s eyes.
In both of
these poems, the subject is set in his surroundings in the way many great
portrait painters set their subjects. The whole atmosphere of the poem helps us
sense the personality of the subject.
Shorter
Portrait Poems:
Former Poet
Laureate of the U.S., Ted Kooser, has written a number of poems he calls
“snapshots.” Some of these are “snapshots” of people. You can read “The Skater”
at http://www.tedkooser.net/excerpts/skater.html. At http://www.tedkooser.net/excerpts/tattoo.html you can read “Tattoo,” a picture of a
man at a garage sale. You can hear Kooser read “Tattoo,” and two other poems I
would categorize as snapshot (or short portrait) poems: “A Rainy Morning,” and
“Student, on a You Tube video at https://www.youtube.com/watch?v=fuoWarhWFXw.
The August
Poetry Challenge
The August
Poetry Challenge is to draw a word portrait of one person, but not a celebrity or person famous from
history, legend, myth, Bible, etc. The poem should provide a portrait of
someone you might see somewhere such as in your home or neighborhood, on a
train or bus, in the grocery or department store, on a front porch you pass, on
the beach or at the county fair. The person whose portrait you write might be a
friend, someone you met while traveling, a teacher, or even an imaginary
person—if the poem is written convincingly enough. Although the poem is a
portrait of one person, you may use another person, activities, and description
of place as background that highlight’s the person featured in the poem. No animal portraits and no
self-portraits this month.
I want to be
able to close my eyes and see the subject of the portrait in my mind on the
basis of the details and descriptions you provide. That doesn’t mean, however,
that you have to tell me the color of his or her eyes and hair, etc. Pick your
details to match what you really want to say.
Title your
poem. You may give the poem the title of the person about whom you or writing,
but need not do so. It may be free or formal verse. If you use a form, please
identify the form when you submit your poem. Please single-space, and don’t use
lines that are overly long (because the blog format doesn’t accommodate long
lines).
You may
submit a published if you retain
copyright, but please include publication data. This applies to poems
published in books, journals, newspapers, or on the Internet. Note that this is
a recent change in the rules.
The
deadline is August 15.
Poems submitted after the deadline will not be considered. There is no charge
to enter, so there are no monetary rewards; however winners are published on
this blog. Please don’t stray too far from “family-friendly” language. No
simultaneous submissions, please. You should know by the end of the month
whether or not your poem will be published on this blog. Decision of the judge
or judges is final.
Copyright on
each poem is retained by the poet. If a winning poem is published elsewhere
later, please give credit to this blog.
How to
Submit Your Poem:
Send one poem only to wildamorris[at]ameritech[dot]net (substitute the @ sign for “at” and a . for “dot”) . Include a brief bio which can be printed with your poem, if you are a winner this month.
Send one poem only to wildamorris[at]ameritech[dot]net (substitute the @ sign for “at” and a . for “dot”) . Include a brief bio which can be printed with your poem, if you are a winner this month.
Submission of
a poem gives permission for the poem to be posted on the blog if it is a
winner, so be sure that you put your name (exactly as you would like it to
appear if you do win) at the end of the poem. Poems may be pasted into an email
or sent as an attachment (no pdf files, please). Please do not indent the poem or center it on the page. It helps if
you submit the poem in the format used on the blog (Title and poem
left-justified; title in bold (not all in capital letters); your name at the
bottom of the poem). Also, please do not use spaces instead of commas in the
middle of lines. I have no problem with poets using that technique (I sometimes
do it myself). However I have difficulty getting the blog to accept and maintain
extra spaces.
Poems shorter
than 40 lines are generally preferred but longer poems will be considered.
Bios:
Mary Jo Balistreri has two book of poetry published by Bellowing
Ark Press, a chapbook by Tiger's eye Press, and a small book in
their Infinities Series. (haiku) She has nine Pushcart nominations and
four Best of the Net. She is a founding member of Grace River Poets, an
outreach for school, churches, and women's centers. Please visit her at maryjobalistreripoet.com.
Myron
Stokes served in the
US Air force for eight years, and is a readjustment counseling therapist for combat
veterans. His poetry focuses on family, the South, the military experience,
nature, life, death, God, love, and other themes that capture his attention. He
is an active member of Poets and Patrons of Chicago, Illinois State Poetry
Society, and the Oak Park Writers Group. One of his goals is to publish a poem
in The New Yorker.
© Wilda
Morris