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| − | <html><a href="http://www.flickr.com/photos/90924566@N03/8259067100/" title="JPGGG by toby.decker, on Flickr"><img src="http://farm9.staticflickr.com/8072/8259067100_0fefef273b_n.jpg" width="256" height="320" alt="JPGGG"></a> | + | <html><a href="http://www.flickr.com/photos/90924566@N03/8259067100/" title="JPGGG by toby.decker, on Flickr"><img src="http://farm9.staticflickr.com/8072/8259067100_0fefef273b_n.jpg" width="256" height="320" alt="JPGGG"></a></html> |
When "The Waste Land" first appeared in the November 1922 issue of the American periodical, ''The Dial'', it was preceded by Robert Delaunay's painting entitled, "Saint Severin No. 3." There is no information to suggest whether the juxtaposition of the two works was ever approved of by Eliot, but neither is there information to indicate whether Eliot opposed the placement of Delaunay's painting at the opening of Eliot's masterful poem. The two pieces are interesting in contrast, especially since the works were created nearly ten years apart. Perhaps Delaunay's piece was selected for publication because it demonstrated the painter's divergence from what he had previously produced--just as Eliot's "Waste Land" deviated from foregoing precedent. | When "The Waste Land" first appeared in the November 1922 issue of the American periodical, ''The Dial'', it was preceded by Robert Delaunay's painting entitled, "Saint Severin No. 3." There is no information to suggest whether the juxtaposition of the two works was ever approved of by Eliot, but neither is there information to indicate whether Eliot opposed the placement of Delaunay's painting at the opening of Eliot's masterful poem. The two pieces are interesting in contrast, especially since the works were created nearly ten years apart. Perhaps Delaunay's piece was selected for publication because it demonstrated the painter's divergence from what he had previously produced--just as Eliot's "Waste Land" deviated from foregoing precedent. | ||
