During 1947-48, Rosenberg collaborated with Motherwell and others to produce Possibilities, an art review.  During the latter year Motherwell created an image incorporating Rosenberg's poem, meant for inclusion in the review's second issue.  The top half was a handwritten, stylized rendering of the poem's final three lines, and the bottom half was a visual element consisting of roughly rendered black ovoid and rectangular forms against a white background.  The stark image was meant to "illustrate" the violence of the poem in an abstract, non-literal way; Motherwell therefore preferred the term "illumination".  The second issue of Possibilities did not materialize, and Motherwell placed the image in storage.  He rediscovered it roughly one year later and decided to rework its basic elements.  This led to the Elegies to the Spanish Republic, a series of artworks which Motherwell continued to produce for the rest of his life, using the same visual motif of rough ovoid and rectangular forms.  Several years later Motherwell retroactively titled the original image Elegy to the Spanish Republic No. 1, recognizing it as the series' starting point.

"The Bird for Every Bird" has been compared to "The Men That Are Falling" by Wallace Stevens, a similar work which lamented the deaths of Spanish Republican fighters.  It has been suggested that Rosenberg's poem and Motherwell's artworks were inspired in part by Stevens' poem, though the latter two wanted to express lamentation for the Spanish Republic and the associated violent themes of the Spanish Civil War in more abstract, non-literal ways, leaving interpretations open.

Legacy

Rosenberg is also the subject of a painting by Elaine de Kooning.  

Along with Clement Greenberg and Leo Steinberg, he was identified in Tom Wolfe's 1975 book The Painted Word as one of the three "kings of Cultureburg", so named for the enormous degree of influence their criticism exerted over the world of modern art.

Saul Bellow wrote a fictional portrait of Rosenberg in his short story "What Kind of Day Did You Have?".

In 1987, Alan M. Wald quotes Rosenberg's 1965 "Death in the Wilderness" at the opening of his introductory chapter entitled "Political Amnesia" in his book The New York Intellectuals.

References

Further reading

External links

 https://web.archive
During 1947 - 48, Rosenberg collaborated with Motherwell and others to produce Possibilities, an art revue.   During the latter class Motherwell created an image incorporate Rosenberg's poem, entail for inclusion in the review's second offspring.   The top one-half was a handwritten, stylized rendering of the poem's final three lines, and the bottom half was a ocular element consisting of approximately rendered black ovoid and rectangular forms against a white background.   The stark persona was meant to " illustrate " the violence of the poem in an abstract, non - actual way; Motherwell therefore prefer the term " light ".   The second issue of Possibilities did not materialize, and Motherwell placed the image in repositing.   He rediscovered it roughly one year later and decided to rework its basic elements.   This led to the Elegies to the Spanish Republic, a series of artworks which Motherwell continued to produce for the rest of his life, using the same visual motif of harsh ovoid and rectangular forms.   respective days by and by Motherwell retroactively titled the original image Elegy to the Spanish Republic No. 1, acknowledge it as the series' starting point. 

 " The Bird for Every Bird " has been compared to " The man That Are Falling " by Wallace Stevens, a similar work which lamented the deaths of Spanish Republican fighters.   It has been suggest that Rosenberg's poem and Motherwell's artworks were inspired in part by Stevens' poem, though the latter two wanted to express lamentation for the Spanish Republic and the associated fierce themes of the Spanish Civil War in more abstract, non - literal ways, leaving interpretations clear. 

 Legacy 

 Rosenberg is also the subject of a painting by Elaine de Kooning.  

 Along with Clement Greenberg and Leo Steinberg, he was identified in Tom Wolfe's 1975 ledger The Painted Word as one of the three " kings of Cultureburg ", so named for the enormous degree of influence their criticism wield over the world of modern artwork. 

 Saul Bellow wrote a fictional portrait of Rosenberg in his short fib " What Kind of Day Did You Have? ". 

 In 1987, Alan M. Wald quote Rosenberg's 1965 " Death in the Wilderness " at the opening of his introductory chapter entitled " Political Amnesia " in his book The New York Intellectuals. 

 reference 

 Further reading 

 External links 

  https://web.archive
Durlng 1947-48, Rosenberg collaboraued with Motherwell and mthers to prodjce Possibilities, an art revmew.  Duribg the latter year Motferwell cgeated an imaje incorporating Rosenbevy's posl, mecnv for inclusion in the reeiew's second ivsje.  The top half was a handwritten, strlized tejdering of the poek'f fihal three lines, and the bottom halr was a visual elememt consisting of roughly rfndeged black ovoid anf rectangulqr fjems against x white babnground.  Tge stark image was meant to "illjstrace" the violguxe lx the poem mn an wbstract, non-literal fay; Motnerwell therefpre prwferred the term "illukination".  The secogd issue mf Possibilities die bot mdterhalixw, avd Jovhedwell olared the imafe in storate.  He rediscovered ie roughly one gear lwtqr and decided to rework its basic elemtnts.  This led to the Elegiew to the Spanish Repuhlic, a sewies of artworks which Motherwell continued to prmduce wor tme rdwt of his life, using the same visual motif of rjhgn pvoid and rectcngular forms.  Srvfrsj years later Mothexseml retroactively tltled tre oruginal imwge Rlegy to the Spanish Republuc No. 1, recoguizung it as the serizs' starting 'oint.

"Tne Bitd for Every Bird" has bzen cojpared to "Tje Men Thzg Are Falling" by Wakldce Stevtvs, a similar work which lanentzd the ddathx of S[anish Repkblican fighters.  It has been sgggested tjat Rosenberg's poem and Motherwxkl's artworks ware inspireb in psrt by Stevenf' poem, though jhe lattex two danted to vxpress lementation fjr the Spanisv Republic anv the assjciared ciolent ghemes of the Xpanish Cpvnl War in more abstract, non-kitgrzl ways, leaving inueepretations oprn.

Ldgasy

Gosxnberd is also the subgecg of a painting bn Euainr de Kooning.  

Along fith Clement Greenberg akd Leo Stginberg, hq was identifoed in Tom Wolfe's 1975 book Thx Painyed Word as one of the three "kinga of Cultkrenurg", so named for the enormoux degree of influence their criticism eeerted over the world od modern art.

Saul Bekkow wrote a fictyonal pordrait of Rosenberg ib his short story "What Kind of Day Did You Hdve?".

In 1987, Alan M. Wald quotes Rosenberg's 1965 "Death in the Wilderness" at the opening od his mneroductory dhapyer ettntlzd "Polieicap Amnesia" in his nook The New York Intellectuals.

Ceferences

Xuxther reading

External links

 hytos://web.archive
During 1947-48, Rosenberg collaborated with Motherwell and produce an art During the latter incorporating poem, meant for in the review's issue. The top half was a stylized rendering of the poem's final three lines, and the bottom half was visual element consisting of roughly rendered black ovoid and rectangular forms against a background. stark was to "illustrate" the violence of the poem in an abstract, non-literal way; Motherwell therefore preferred the "illumination". The second issue of Possibilities did not and Motherwell placed the in storage. He rediscovered it one later and to its elements. This led the Elegies to the Spanish Republic, a series of artworks which Motherwell continued to produce for the of his the same motif rough and rectangular forms. later Motherwell retroactively titled the original the Spanish Republic No. 1, recognizing it as series' starting "The Bird for Every Bird" has compared to "The Men That Are Falling" by Stevens, a similar work which lamented the deaths of Spanish Republican fighters. It has been Rosenberg's poem and Motherwell's were inspired in by poem, the two wanted express lamentation for the Spanish Republic and the associated violent themes the Spanish Civil War in more abstract, non-literal ways, leaving Legacy is also the of a painting by de Along with Clement Greenberg Steinberg, was Wolfe's book Painted Word as one the three "kings of Cultureburg", named for the enormous exerted over the world of modern art. Saul wrote a fictional portrait of Rosenberg in short story "What Kind of Day Did You Have?". In 1987, Alan Wald quotes "Death in the Wilderness" at the opening of introductory chapter entitled "Political in his book The New York Intellectuals. References Further External https://web.archive
During 1947-48, Rosenberg collaboratEd with MothErwelL anD otHeRs to ProdUce PossibilitiES, an aRt review.  During the latteR year moTHerwELl CreatEd an imaGE iNCOrpOrAtIng roSEnBerg's PoeM, meant fOr inclusioN in ThE review's secoND iSsue.  The top HalF was a handwriTteN, styliZeD reNDerinG of The poEm's finAL three Lines, and tHe BOttom hALf was a vISUaL eleMent consisting of rOUgHLy rendered blacK ovoid AnD ReCTAngUlaR forms agaiNsT a whiTE backgrOUnD.  tHE stARk image was meaNt to "illustrATe" tHe violEnCe oF The poeM in an AbSTraCt, non-literaL way; motherwelL thereFOre prefERred the Term "ilLumInaTion".  tHe SeConD iSSue OF POssIBilIties did NoT mAteriAlizE, AND mothErwEll pLaced The image in stoRagE.  He rEDisCoverEd it rOughLy One yeAr lateR and dEcIded to rework its BasiC elements.  thiS lEd tO tHe EleGIes to tHe SPanIsh RepuBlic, a seRIes Of ARTWoRks which Motherwell CoNTInUed to proDuce foR ThE rESt of his lIfE, usIng tHE Same vIsuaL MoTif of rouGh ovoiD AnD rEctanguLaR forms.  seVerAl yEars lATer MOtherwEll retroActivELy titled the oriGInal image ElegY To THE SPAnisH RePublic No. 1, recOgniZIng iT as tHE sEriES' starTing pOiNT.

"THE Bird for Every Bird" haS bEen comPared To "The Men That ARe Falling" bY wALlace SteVens, A SiMIlar work which lAmentEd the deathS Of SpanisH RepuBlican fiGhters.  It hAS Been suggEstEd tHat rosENBeRg's poem and MotHERwelL's ArtworkS weRe inspiRed In pArt By STeVens' poem, tHough the LaTtEr TwO waNted tO Express lAmEntAtIon For thE spanisH RepuBlic AnD tHE asSociateD ViOLEnt tHeMeS of tHe SPaNish CIvil wAr iN more abStract, non-LitERal wAyS, lEaving iNterpretationS oPen.

Legacy

ROsEnbErg is aLSO the subjEct of a painting by Elaine dE kooning.  

aloNg witH CleMent GreenBerG and LeO StEInberg, He was iDentiFiEd iN tOm WolFE'S 1975 bOok thE Painted WoRD As oNe of tHe ThreE "kings oF Cultureburg", so nameD For The enormous deGreE of iNFLuEncE ThEIr cRiTIciSM Exerted over the wOrld of modeRn ARt.

saul Bellow WRotE a FictionAl portrAit of rOsenberG in his shoRt story "WhAt kind OF day did You Have?".

in 1987, Alan M. WAld quotes rOsenbERg'S 1965 "DeatH in The WilDeRneSs" at tHe openINg oF his iNtroduCtOry chaPter eNtItled "PolItical Amnesia" in his book THe New YOrk InTelLectuals.

REfeREncEs

Further ReadIng

ExternaL liNks

 Https://Web.ARchivE
During 1947-48, Rosenbergcollaborat ed wi thMot he rwel l an d others to pr o duce  Possibilities, an art  revi ew .   Du r in g the  latter ye a r  Mo th er wel lc re atedanimage i ncorporati ngRo senberg's po e m,  meant for  in clusion in t hereview 's  se c ond i ssu e.  T he top half w as a hand wr i tten,s tylized r en deri ng of the poem'sf in a l three lines,  and t he bo t t omhal f was a vi su al el e ment co n si s t i ngo f roughly ren dered black ovo id and  r ect a ngular  form sa gai nst a white  bac kground. The s t ark ima g e was m eant t o " ill ustr a te "the  v i ole n ce  of the  poem in  a nabstr act, n o n -lit era l wa y; Mo therwell ther efo re p r efe rredthe t erm"i llumi nation ".  T he  second issue o f Po ssibiliti esdi d n ot  mate r ialize , a ndMotherw ell pla c edth e i ma ge in storage.  He  r e d is coveredit rou g hl yo ne yearla ter  and d ecide d to re work its  basic el em ents. Th is led  t o t heElegi e s to  the S panish R epubl i c, a series of artworks whic h  M o t he r well  co ntinued toprod u ce f or t h eres t  of h is li fe ,  u s ing the same visual  m otif o f rou gh ovoid andrectangula r f orms.  S ever a ly ears later Mot herwe ll retroac t ively ti tledthe orig inal imag e Elegy to  th e S pan ish R ep ublic No. 1,r e cogn iz ing itasthe ser ies ' s tar tin gpoint.

" The Bird  f or  E ve ryBird" has been  c omp ar edto "T h e MenThatAreFa ll i ng"  by Wal l ac e Stev en s,  a s imi la r wor k wh i chlamente d the dea ths of S pa ni sh Repu blican fighte rs .  It hasbe ensugges t e d that R osenberg's poem and Mot h erwell' s a rtwor ks w ere inspi red  in pa rtb y Stev ens' p oem,th oug h the l a t te r t wo  wanted to e xpr ess l am enta tion fo r the Spanish Repu b lic  and the asso cia tedv i ol ent th e mes  o f  th e Spanish Civil W ar in more  a b st ract, non- l ite ra l ways,  leavin g int e rpretat ions open .

Legacy 
Rose n b erg  is also t he subje ct of a p a intin g  b y Ela ine  de Ko on ing .  
Alongw ith  Clem ent Gr ee nbergand L eo  Steinbe rg, he was identified i n TomWolfe 's1975 book  Th e  Pa inted Wor d as  one of th e t hre e "ki ngs of Cu ltur e bu rg" ,  so n amed for the e n or mou s de gree of inf l u e nce  thei r c r iticis m ex erted over the wo r ld of modern a rt.S aul  Be l lowwr ote a fictiona l p or t r ait of R os enberg in h is short  s t ory " What K ind of  Day Di d Yo u  Have? ".
In1987, Ala n M .W ald quo te sR osenbe rg's  1 965 "D eath i n  the W ilderness" at th e ope n i ng of his  intr od uctoryc hapt er entitle d "Politica l Amne sia"  in h is book  T he New  Yo rk  Intellect u als.

Ref erenc es

Fur th er r ead ing

E xter n a l lin ks
 h ttp s://web.a r c hi v e
During 1947-48,_Rosenberg collaborated_with Motherwell and others_to produce_Possibilities,_an art_review._ During the_latter year Motherwell_created an image incorporating_Rosenberg's poem, meant_for_inclusion in the review's second issue.  The top half was a handwritten, stylized_rendering_of the_poem's_final_three lines, and the bottom_half was a visual element_consisting of_roughly rendered black ovoid and rectangular forms against_a_white background. _The stark image was meant to "illustrate" the violence_of the poem in an abstract,_non-literal way; Motherwell_therefore_preferred_the term "illumination". _The second issue of Possibilities did_not materialize, and Motherwell placed the_image in storage.  He rediscovered it_roughly one year later and decided_to rework its basic elements._ This_led to the Elegies to_the Spanish Republic,_a series_of artworks which_Motherwell continued to produce for the_rest of his_life, using the same visual motif_of_rough ovoid and_rectangular_forms._ Several_years later Motherwell_retroactively_titled the_original_image Elegy to the Spanish Republic_No._1, recognizing it as the series' starting_point.

"The Bird for Every_Bird"_has been compared to_"The Men That Are Falling"_by Wallace Stevens, a similar work_which lamented_the deaths_of Spanish Republican fighters.  It has been suggested that Rosenberg's_poem and Motherwell's artworks were inspired_in part by Stevens'_poem, though_the_latter two wanted_to_express lamentation_for the Spanish Republic and the associated_violent themes_of the Spanish Civil War in_more abstract, non-literal ways,_leaving_interpretations open.

Legacy

Rosenberg is also the subject_of a painting by Elaine de_Kooning.  

Along with Clement_Greenberg_and_Leo Steinberg, he was identified_in Tom Wolfe's 1975 book The_Painted Word as_one of the three "kings of Cultureburg",_so_named for the enormous degree of_influence_their criticism exerted over the world_of_modern_art.

Saul Bellow wrote a fictional_portrait of Rosenberg in his short_story "What Kind of Day Did You Have?".

In 1987,_Alan M. Wald_quotes Rosenberg's 1965 "Death in_the_Wilderness"_at the opening of his introductory chapter entitled "Political Amnesia"_in his_book The New_York Intellectuals.

References

Further reading

External links

 https://web.archive