My impressions of E.E. Cummings paintings

My impressions about E. E. Cummings` paintings

        E. E. Cummings gained tremendous popularity throughout the twentieth century. His poetry was widely hailed for its experimental form, typography, grammar and word coinages, as nearly as for the subtlety and sensitivity of its perceptions and feeling. His non-fiction prose was praised for its bitter wit and for the limpidity and forcefulness of its expression, revealing Cummings as an intelligent, critical observer and chronicler of the modern, who, bound to no school of writing, expresses himself as an idiosyncratic individualist.

        However, little well-known are Cummings` achievements as a optic artist and the extent to which they express in an entirely variant medium the same aesthetic principles and precise delicious intelligence agency that inform his poetry. Cummings viewed himself as much as a catamount as a poet.

        Cummings spent a greater portion of his time painting than writing; he also produced thousands of pages of carefully thought-out notes concerning his own aesthetics of painting: colorize - theory, analysis of the human form, the intelligence of painting, reflections on the Masters, etc.

        While achieving inviolable acclaim as an American cubist and abstract, avant-garde painter in the years between the wars, he later viewed the artistic establishment as hopelessly anti-intellectual and dropped out of the sensitive York gallery scene, devoting the remainder of his life to painting representational spring: landscapes, nudes, still lives and portraits.

        When I investigated Cummings` paintings, I noticed that more of the paintings in his collection display wild, exuberant, and sometimes nearly waste use of color. His landscapes yield the greatest variety of experimentation regarding proficiency and approach to the field of study. Many of the landscapes are rather weirdly dreamlike and muted or else bursting with mad swirls of brilliant colors. The dominant subject among landscapes are mountains, but in still lifes - flowers.

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