. International studio. rible wit I rthy, personal stroke. Of this attitude she comn There are people w ho of my MARCH I 0 2 sixlx - inceRHACionAL mum© pictures revolting. They hurt the eye. But I amnot dejected—like Poe. I am in love with magicand monsters and the drama of form emergingfrom the formless. But perhaps the closest affinity exists betweenthe work of Miss ONeill and that of WilliamBlake. With her, as with him, poem and pictureloom side by side, words and lines equally power-ful. It is interesting to learn from Yeats Life ofBlake that the true name of the earlier Irish in culling a
. International studio. rible wit I rthy, personal stroke. Of this attitude she comn There are people w ho of my MARCH I 0 2 sixlx - inceRHACionAL mum© pictures revolting. They hurt the eye. But I amnot dejected—like Poe. I am in love with magicand monsters and the drama of form emergingfrom the formless. But perhaps the closest affinity exists betweenthe work of Miss ONeill and that of WilliamBlake. With her, as with him, poem and pictureloom side by side, words and lines equally power-ful. It is interesting to learn from Yeats Life ofBlake that the true name of the earlier Irish in culling abstract ideas for more facile expressionin sculpture. And sculpture with a brush—howadroit must be the touch ! The prominence of Idea is ably illustrated insome ol the drawings herewith suggests a horror of consciousness ratherthan a personal madness. Centaur Escapesembodies the spirit of freedom symbolized by thedash of the centaur into whirling clouds. TheFuture in the Lap of the Past is a striking. artist-poet was also ONeill has drawn her inspiration from such an equally living fount ofsymbolism and allegory as produced Blakescelebrated ghost of a flea. This same tendencyto substitute an image for an idea which cloudedthe meaning of much of Blakes poetry, heightensMiss ONeills work, as there is probably no moreeffective medium for the transmission of intellec-tual meanings than through the natural mold ofhuman form. What Blake lost in trying toembody abstract ideas in verse, Miss ONeill gains THE ETERNAL GESTURE picturization of that mostabstract of conceptions—no less an intangible thing than Time itself. M. Alexandre has called Miss ONeill his dis-covery. At her exhibition he was an enthusiastof her work. In a preface to the catalogue of theexhibition he says in part: With the revelation of these powerful draw-ings one is not surprised to learn that this strangeand profound artist is also a great poet. The joyof these drawings is, it is t
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