Pop Modern: Richard Hamilton’s Ulysses Illustrations

Pop Modern: Richard Hamilton’s Ulysses Illustrations PoP Modern Richard Hamilton Exhibition in London, © Rune Hellestad/Corbis Richard Hamilton's Ulysses Illustrations curio cabinet n 1947, while doing National Service with the Royal Engineers, the future founding father of Pop Art, Richard Hamilton, read a two-volume paperback of James Joyce's Ulysses published by Odyssey Press. "I had heard it was a book that only six people in the world had managed to read. But I thought it was wonderful--it was funny, the language was magical." Hamilton became an abiding Joyce fan and recalled that the novel liberated him, allowing him to see how to paint without self-conscious gesture and use parody and pastiche while mixing styles. He was also struck by Joyce's facility with language--his ability to borrow styles and tones of voice from everywhere. summer 2014 / THe mIssOurI re VIe W 141 Bronze by gold II, 1985­1987, soft-ground, lift ground aquatint, engraving, scraper and burnisher, © R. Hamilton, DACS and ARS 2013 Representing Ulysses in a different medium became a lifelong project. He found the novel wildly vivid but strangely nonvisual, which captured his imagination even more. While Leopold Bloom, the book's central figure, is never physically described, there is plenty to characterize his http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Missouri Review University of Missouri

Pop Modern: Richard Hamilton’s Ulysses Illustrations

The Missouri Review, Volume 37 (2) – Jul 19, 2014

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Publisher
University of Missouri
Copyright
Copyright © The Curators of the University of Missouri.
ISSN
1548-9930
Publisher site
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Abstract

PoP Modern Richard Hamilton Exhibition in London, © Rune Hellestad/Corbis Richard Hamilton's Ulysses Illustrations curio cabinet n 1947, while doing National Service with the Royal Engineers, the future founding father of Pop Art, Richard Hamilton, read a two-volume paperback of James Joyce's Ulysses published by Odyssey Press. "I had heard it was a book that only six people in the world had managed to read. But I thought it was wonderful--it was funny, the language was magical." Hamilton became an abiding Joyce fan and recalled that the novel liberated him, allowing him to see how to paint without self-conscious gesture and use parody and pastiche while mixing styles. He was also struck by Joyce's facility with language--his ability to borrow styles and tones of voice from everywhere. summer 2014 / THe mIssOurI re VIe W 141 Bronze by gold II, 1985­1987, soft-ground, lift ground aquatint, engraving, scraper and burnisher, © R. Hamilton, DACS and ARS 2013 Representing Ulysses in a different medium became a lifelong project. He found the novel wildly vivid but strangely nonvisual, which captured his imagination even more. While Leopold Bloom, the book's central figure, is never physically described, there is plenty to characterize his

Journal

The Missouri ReviewUniversity of Missouri

Published: Jul 19, 2014

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