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From a “Stretch of Grey Sea” to the “Extent of Space”: The Gaze Across Vistas in Cather’s The Professor’s House

From a “Stretch of Grey Sea” to the “Extent of Space”: The Gaze Across Vistas in... From a “Stretch of Grey Sea” to the “Extent of Space”: The Gaze Across Vistas in Cather’s The Professor’s House Rafeeq O. McGiveron Western American Literature, Volume 34, Number 4, Winter 2000, pp. 389-408 (Article) Published by University of Nebraska Press DOI: https://doi.org/10.1353/wal.2000.0002 For additional information about this article https://muse.jhu.edu/article/534647/summary Access provided at 24 Feb 2020 18:13 GMT from JHU Libraries Henrietta Shore. TWO WORLDS. C a . 1921. O il on canvas, 30" x 26". Courtesy Nora Eccles Harrison Museum of Art, Utah State University. Gift: The Marie Eccles Caine Foundation. Henrietta Shore (1880-1 9 6 3 ) and Helen Lundeberg (1908-1 9 9 9 ) shared many of W illa C ather’s interests. Both were classically trained painters who turned to modernist techniques to experiment with form and to reconceive space. Both displayed the influence o f modernism in their departure from plein-air landscape painting and in their introspective exploration o f the natural world. Shore, who helped found the Los Angeles M odem A rt Society in 1916, painted large-scale natural details from the California landscape (which have led to comparisons with Georgia O ’Keeffe), as well as reflections on space like Two Worlds. With her http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Western American Literature University of Nebraska Press

From a “Stretch of Grey Sea” to the “Extent of Space”: The Gaze Across Vistas in Cather’s The Professor’s House

McGiveron, Rafeeq O.
Western American Literature , Volume 34 (4) – Oct 4, 2017
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Publisher
University of Nebraska Press
ISSN
0043-3462

Abstract

From a “Stretch of Grey Sea” to the “Extent of Space”: The Gaze Across Vistas in Cather’s The Professor’s House Rafeeq O. McGiveron Western American Literature, Volume 34, Number 4, Winter 2000, pp. 389-408 (Article) Published by University of Nebraska Press DOI: https://doi.org/10.1353/wal.2000.0002 For additional information about this article https://muse.jhu.edu/article/534647/summary Access provided at 24 Feb 2020 18:13 GMT from JHU Libraries Henrietta Shore. TWO WORLDS. C a . 1921. O il on canvas, 30" x 26". Courtesy Nora Eccles Harrison Museum of Art, Utah State University. Gift: The Marie Eccles Caine Foundation. Henrietta Shore (1880-1 9 6 3 ) and Helen Lundeberg (1908-1 9 9 9 ) shared many of W illa C ather’s interests. Both were classically trained painters who turned to modernist techniques to experiment with form and to reconceive space. Both displayed the influence o f modernism in their departure from plein-air landscape painting and in their introspective exploration o f the natural world. Shore, who helped found the Los Angeles M odem A rt Society in 1916, painted large-scale natural details from the California landscape (which have led to comparisons with Georgia O ’Keeffe), as well as reflections on space like Two Worlds. With her

Journal

Western American Literature – University of Nebraska Press

Published: Oct 4, 2017

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