The Little Review

The article is clearly in favor of the poets as it describes them as “Brave, honorable, and distinguished lives.” It claims that the loss of these leaders did not only effect Ireland, but the whole world. It continues with a personal poem from each poet then ends with a passage about each poet and how their actions helped shape the revolution. The constant praise features how passionately The Little Review feels about these political issues during World War I. It has no problem in pointing out how crudely an English journal published pictures of the revolutionists with a picture of the one who ordered their executions. The article states that the poets have “Intellectual and spiritual faces” while the general who ordered their death has “the face of a man who could never liberate himself.”

The article is clearly in favor of the poets as it describes them as “Brave, honorable, and distinguished lives.” It claims that the loss of these leaders did not only effect Ireland, but the whole world. It continues with a personal poem from each poet then ends with a passage about each poet and how their actions helped shape the revolution. The constant praise features how passionately The Little Review feels about these political issues during World War I. It has no problem in pointing out how crudely an English journal published pictures of the revolutionists with a picture of the one who ordered their executions. The article states that the poets have “Intellectual and spiritual faces” while the general who ordered their death has “the face of a man who could never liberate himself.”

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Volume 9, No 1, Autumn 1921 <br>

Volume 9, No 1, Autumn 1921 <br>

Mille. Marie Laurencin <br>

Mille. Marie Laurencin <br>

This passage is all about feminine painters and their achievements in the art field. It begins with the painter Sophonisba Angussola. The passage praises her work for being in famous museums and sought after by Kings. The excelled her master and made a career for herself in portrait painting.  Even when she was old and blind, she was an amazing teacher of the fine arts. The next featured painter is Mille Marie Laurencin who was known for her feminine aesthetic. Her paintings were put on the same level as Picasso except her paintings were filled with emotion and charm. The third painter is a man, Le Douanier Rosseau. His art often featured feminine features and he was praised for his harmonious shades of the same color. He used delicate tones and his art was also considered to have charm.  

This passage is all about feminine painters and their achievements in the art field. It begins with the painter Sophonisba Angussola. The passage praises her work for being in famous museums and sought after by Kings. The excelled her master and made a career for herself in portrait painting.  Even when she was old and blind, she was an amazing teacher of the fine arts. The next featured painter is Mille Marie Laurencin who was known for her feminine aesthetic. Her paintings were put on the same level as Picasso except her paintings were filled with emotion and charm. The third painter is a man, Le Douanier Rosseau. His art often featured feminine features and he was praised for his harmonious shades of the same color. He used delicate tones and his art was also considered to have charm.  

Towards the end of its life, the Little Review shifted drastically the to the feminist side of things. This article is an example of that. The word “feminine” is used often to describe these painters in some way. For example, the article states that Sophonisba Angussola is “the most notable example of feminine glory achieved in the plastic arts.” For Laurencin, “she has known to express, in the major art of painting, an entirely feminine aesthetic” and for Rosseau, again, his arts “featured feminine features.” Not only was “feminine” used to describe the painter in some way, but other words such as “charm” and “delicate” were also used. These words are traditionally feminine, especially at this time, so it’s clear that the article is putting emphasis on the feminist side of things. Furthering this, the article speaks nothing but praise for these artists. In particular, it puts Laurencin on the same level as Picasso, a very famous artist, stating that this female artist was just as good as this male one. This passage seems to be a sort of inspiration for feminist readers,

Towards the end of its life, the Little Review shifted drastically the to the feminist side of things. This article is an example of that. The word “feminine” is used often to describe these painters in some way. For example, the article states that Sophonisba Angussola is “the most notable example of feminine glory achieved in the plastic arts.” For Laurencin, “she has known to express, in the major art of painting, an entirely feminine aesthetic” and for Rosseau, again, his arts “featured feminine features.” Not only was “feminine” used to describe the painter in some way, but other words such as “charm” and “delicate” were also used. These words are traditionally feminine, especially at this time, so it’s clear that the article is putting emphasis on the feminist side of things. Furthering this, the article speaks nothing but praise for these artists. In particular, it puts Laurencin on the same level as Picasso, a very famous artist, stating that this female artist was just as good as this male one. This passage seems to be a sort of inspiration for feminist readers,

==V. Conclusion==

==V. Conclusion==