[Milton-L] Milton-L Digest, Vol 72, Issue 6

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Sun Nov 18 14:51:17 EST 2012


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Christine in Baltimore 


----- Original Message -----
From: "Matthew Jordan" <matthewjorda at gmail.com> 
To: "John Milton Discussion List" <milton-l at lists.richmond.edu> 
Sent: Sunday, November 18, 2012 1:31:14 PM 
Subject: Re: [Milton-L] Milton-L Digest, Vol 72, Issue 6 

Milton a big deal with at least one broadly contemporary Viennese, Freud, who, when asked to list 10 good books, noted he had not been asked to name his 10 FAVOURITE books, among which he would certainly have included Paradise Lost . . . The reference and precise quotation are buried in the footnotes to chap 3 of my Milton and Modernity . . . 

Matt 




On 18 November 2012 15:37, James Rovira < jamesrovira at gmail.com > wrote: 


Klimt was Austrian... particularly, Viennese.  The Eve painting was among his very last, as he died before he could finish it.  He doesn't do Biblical subjects very often at all -- there's Judith and the Head of Holofernes, this one, and Judith II that seem to be explicitly about Biblical subjects.  The Klimt website seems more inclined to attribute influence to his models themselves; it could be this subject was called Eve only because of her wide hips (mother of all the living) and long, flowing hair.  He had been attacked for "pornography" by critics in his own country -- retreating Nazis destroyed his three faculty paintings over 20 years after his death -- so it could be he chose to identify this subject with Eve to divert some of this criticism.   


It'd be difficult to make a serious argument for Miltonic influence, I think, and once we start talking about general influence we leave ourselves open to the possibility of the general influence of many different artists and authors, especially for figures like Adam and Eve.  But it's an interesting rabbit to chase... 



Jim R  



On Sat, Nov 17, 2012 at 12:11 PM, Aaron Drucker < penandpaper at me.com > wrote: 

<blockquote>

I'm a tremendous fan of speculation.  (It's kind of what keeps many of us that are employed in continued employment.)  And I've always been on the fence about Milton's influence on the tradition in toto .  Certainly it appears he codified a lot of (particularly Protestant) tradition of the Garden story, but material art (and, incidentally, the religious traditions from which Milton derived his interpretation of the story) reflects these themes for centuries before and (without significant alteration in the artistic tradition) after Milton's masterpiece. 


I guess my real question comes down to which mode and particularly anxious influence Klimt (and similar artists) derive their may depictions of Adam, Eve, "the Snake," &c.  Is it the late-medieval artistic tradition and the Protestant milieu, or is it something more specific (like a great love of Milton's poetry)?  I'm always hesitant to make claims when there is a strong competing tradition within an artist's own wheelhouse.  To me, this is a great excuse to start reading Klimt's letters, diaries, notes, &c.  Great fun!  And a grant to study in (where is Klimt from again?  who has his papers? -- wherever that is!). 


Smiles, 
AD 




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