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= <unk> <unk> <unk> =

<unk> <unk> <unk> ( born ca . 1945 or ca . 1953 , date uncertain ) is an <unk> @-@ speaking Indigenous Australian from Central Australia . Since first taking up painting around 1990 , her works of contemporary Indigenous Australian art have been acquired by several major collections including <unk> and the National Gallery of Victoria . Her paintings portray bush plum " dreaming " and women ’ s ceremonies ( known as <unk> ) . One of her paintings sold at a charity auction for A $ 22 @,@ 800 . <unk> <unk> 's works are strongly coloured and <unk> in composition and regularly appear at commercial art <unk> in Australia . Her art appears to have survived the huge contraction of the primary art market in Australia since 2008 . There is no existing <unk> <unk> of <unk> <unk> 's artworks , to date , no fakes have been cited .

= = Personal background = =

<unk> <unk> <unk> is an <unk> @-@ speaking Indigenous Australian , born around 1945 or 1953 at the Santa Teresa Mission , near Alice Springs in Australia 's Northern Territory .

When <unk> <unk> began painting for <unk> Gallery in central Australia , she indicated that her name was <unk> rather than <unk> , and that this was how she <unk> wished to be known ; however <unk> 's biography is the only source that has used that version of her name .

After marrying Robin <unk> , brother of artist Gloria <unk> , <unk> <unk> moved to the region of <unk> , north @-@ east of Alice Springs , which is where she was living when she began painting around 1990 . They had seven children , one of whom , <unk> <unk> , went on to become an artist like his mother . By 2008 , <unk> <unk> 's husband had died , and <unk> was dividing her time between Alice Springs and <unk> Range , to its north @-@ east .

= = Professional background = =

Contemporary Indigenous art of the western desert began in 1971 when Indigenous men at <unk> created murals and <unk> using western art materials , assisted by teacher Geoffrey <unk> . Their work , which used <unk> paints to create designs representing body painting and ground sculptures , rapidly spread across Indigenous communities of central Australia , particularly after the introduction of a government @-@ sanctioned art program in central Australia in 1983 . By the 1980s and ' 90s , such work was being exhibited internationally . The first artists , including all of the founders of the <unk> <unk> artists ' company , were men , and there was resistance among the <unk> men of central Australia to women also painting . However , many of the women wished to participate , and in the 1990s many of them began to paint . In the western desert communities such as <unk> , <unk> , <unk> , <unk> , and on the <unk> , people were beginning to create art works <unk> for exhibition and sale .

= = = Career = = =

<unk> <unk> began painting about 1990 or 1992 as part of the contemporary Indigenous art movement that had begun at <unk> in the 1970s . By 1998 her work was being collected by both private and public institutions , such as Charles Sturt University , and in 2005 a work was purchased by the National Gallery of Victoria . Her career received a significant boost when her work was included in the National Gallery of Victoria 's 2006 Landmarks exhibition and its catalogue ; her painting was printed opposite that of <unk> Tommy Watson , who was by this time famous , particularly for his contribution to the design of a new building for the Musée du <unk> <unk> . <unk> 's paintings have been included at exhibitions in several private galleries in Melbourne and Hong Kong , as well as at the Australian embassy in Washington in 2001 .

In 2006 a commissioned work by <unk> was exhibited at <unk> College at the University of New South Wales as part of a charity fundraising exhibition . It sold for A $ 22 @,@ 000 . As of the end of 2008 , the highest recorded auction price for an item of <unk> 's work was $ 22 @,@ 800 , set in May 2007 . An image based on a <unk> by <unk> , Bush <unk> , appears on the cover of a book on the visual perception of motion , Motion Vision .

Central Australian artists frequently paint particular " <unk> " , or stories , for which they have responsibility or rights . These stories are used to pass " important knowledge , cultural values and belief systems " from generation to generation . <unk> by <unk> portray two different groups of <unk> , rendered in two distinct styles . Bush plum dreaming represents a plant of the central Australian desert which is " a source of physical and spiritual sustenance , reminding [ the local Indigenous people ] of the <unk> of [ their ] country " . These paintings are undertaken with red , blue and orange dots that represent the fruit at different stages in its development . She also paints women ’ s ceremonies ( <unk> ) and <unk> , and these are created using rows of coloured dots and include representations of women 's ceremonial iconography .

Journalist <unk> <unk> described <unk> as one of the " finest contemporary Aboriginal artists " . Art consultant Adrian Newstead has ranked her as amongst the country 's top 200 Indigenous artists , noting that she has become " known for innovative works that create a sense of visual harmony through fine <unk> fields of <unk> applied <unk> " . Her style is described by Indigenous art writers <unk> and <unk> as an " interesting , modern interpretation of landscape " .

<unk> 's work is held in a variety of public and private collections , including <unk> , the Charles Sturt University Collection , the Holmes a Court Collection , and the National Gallery of Victoria .

= Head VI =

Head VI is an oil @-@ on @-@ canvas painting by the Irish @-@ born English <unk> artist Francis <unk> , the last of six panels making up his " 1949 Head " series . It shows a bust view of a single figure , modeled on Diego <unk> 's Portrait of Innocent X. <unk> applies forceful , expressive brush <unk> , and places the figure within a glass cage structure , behind curtain @-@ like <unk> . This gives the effect of a man trapped and <unk> by his surroundings , screaming into an <unk> void .

Head VI was the first of <unk> 's paintings to reference <unk> , whose portrait of Pope Innocent X haunted him throughout his career and inspired his series of " screaming <unk> " , a loose series of which there are around 45 surviving individual works . Head VI contains many motifs that were to reappear in <unk> 's work . The hanging object , which may be a light switch or curtain <unk> , can be found even in his late paintings . The <unk> cage is a motif that appears as late as his 1985 – 86 masterpiece , Study for a Self @-@ Portrait — <unk> .

Head VI was first exhibited in November 1949 at the Hanover Gallery in London , in a showing organised by one of the artist 's early champions , Erica <unk> . At the time , <unk> was a highly controversial but respected artist , best known for his 1944 Three Studies for Figures at the Base of a <unk> , which made him the <unk> terrible of British art . Head VI drew a mixed reaction from art critics ; John Russell , later <unk> 's biographer , at the time dismissed it as a cross between " an <unk> <unk> of its jaws and an <unk> in <unk> @-@ <unk> who has come to a bad end " . In 1989 Lawrence <unk> wrote that the " shock of the picture , when it was seen with a whole series of heads ... was indescribable . It was everything <unk> . The paradoxical appearance at once of pastiche and <unk> was indeed one of <unk> 's most original <unk> . " Art critic and curator David Sylvester described it as a seminal piece from <unk> 's unusually productive 1949 – 50 period , and one of <unk> 's finest <unk> .

= = 1949 Head series = =

<unk> 's output is characterised by sequences of images . He told Sylvester that his imagination was stimulated by sequences and that " images breed other images in me " . His series were not always planned or painted in sequence ; sometimes paintings are grouped for convenience but vary in execution and tone . The idea for the head series came after he returned <unk> , late in 1948 , from a stay in <unk> . In the previous three years he had been unable to find a voice ; the last surviving canvas from this period is his Painting ( 1946 ) . Although he continued to paint , he was a ruthless self critic , given to <unk> <unk> with <unk> , and no works survive from between 1947 and the winter of 1948 . <unk> Erica <unk> offered <unk> the opportunity of a solo show for the opening of her new Hanover Gallery . He agreed , but had nothing in reserve to hang . In following years , <unk> became perhaps the most important of <unk> 's early champions ; she arranged this showing — his debut solo exhibition — publicised him widely and organised <unk> for international <unk> .

Already 40 years old , <unk> viewed the exhibition as his last chance and applied himself to the task with determination . Because he had destroyed all his out of the last three years , he had little choice but to present new works . He did not have a grand plan when he agreed to the show , but eventually found themes that interested him in his Head I of the previous year , and executed five progressively stronger variants in the final weeks before the November exhibition , completing the series barely in time for the opening .

The paintings depict isolated figures enclosed in spaces that are <unk> , overwhelmingly <unk> , <unk> and eerie . Coming early in <unk> 's career , they are uneven in quality , but show a clear progression especially in how they <unk> and present ideas he was still clearly developing and coming to terms with . Head I ( actually begun in the winter of 1948 ) and Head II show <unk> pieces of flesh that broadly resemble human heads ; they have half @-@ open eyes and a <unk> , though it is positioned much higher than would be expected in a human . Heads III , IV and V show fully formed <unk> recognisable as men , and are characterised by a haunted atmosphere . These two broad ideas <unk> in Head VI , which is as <unk> tortured as the first two paintings , and as spectral as the middle three . In Head VI the figure has developed and is now shown wearing vestments , the first indication in <unk> 's work of the influence of <unk> , while the focus has become the open mouth and the study of the human scream .

<unk> said that chance played a significant role in his work , and that he often approached a canvas without having a clear idea of what might emerge . This was especially the case in the mid to late 1940s , a period when he was drinking heavily and spending most nights in <unk> <unk> and poker rooms . The following morning he would often approach his canvas " in a bad mood of drinking ... under tremendous <unk> and drink ; I sometimes hardly knew what I was doing . " He incorporated his appetite for chance into his work : an image often would <unk> mid @-@ way through into something quite different from what he had first intended . He actively sought out this freedom and felt it crucial to his progression as an artist . To him , lifestyle and art were intertwined ; he said that " perhaps the drink helped me to be a bit <unk> . " This is very evident in the 1949 series , which began as a rather <unk> study of a collapsed head , but evolved over the six surviving panels into a reworking of <unk> masterpieces , and arrived at an image that was to <unk> <unk> for the subsequent 20 years .

The series marks <unk> 's first attempt at depicting lone figures in rooms . For him , the key aspect was that it appeared that the subject felt isolated , <unk> , and had abandoned the need to present an outward face . He believed that under these circumstances all <unk> falls away , and the social being becomes the sum of its <unk> , which <unk> attempted to convey by reducing the subject to its bare @-@ bones features : a mouth , ears , eyes , a jaw . According to Russell , " the view out front ceases to be the only one , and our person is suddenly <unk> , fragmented , and subject to strange <unk> . " Russell observed that while the depiction of figures in rooms is common through all eras of painting , the figures are always posed , and usually seemingly aware that they are being portrayed . This <unk> is abandoned in <unk> 's series .

Head I , completed late in 1948 , is considered more successful than Head II . Although it is well @-@ regarded critically , Head II is seen as something of a creative <unk> @-@ de @-@ sac , while Heads III , IV and V are usually considered as merely intermediate steps towards Head VI . It is exceptional in <unk> 's <unk> that works of their relative poor quality survive ; he was <unk> self @-@ critical and often <unk> or abandoned <unk> before they were completed . When pressed again by <unk> in 1953 to produce works for a New York show that she had been <unk> for a year , he was full of doubt and destroyed most of what he had been working on , including several other <unk> .

<unk> commissioned another showing to be held in 1950 , for which <unk> painted three large <unk> modelled on <unk> 's portrait . The gallery advertised the show as " Francis <unk> : Three Studies from the Painting of Innocent X by <unk> " , but in the end <unk> was dissatisfied with the works and destroyed them before the show opened .

= = Description = =

The figure is clearly identifiable as a pope from his clothing . It seems trapped and isolated within the outlines of an abstract three @-@ dimensional glass cage . This framing device , described by Sylvester as a " space @-@ frame " , was to feature heavily throughout the artist 's career . A <unk> hangs from the upper edge of the glass case , falling just in front of the pope 's face and partially covering his eyes . It is too <unk> drawn to identify with certainty , but given the presence of similar objects in <unk> 's later works , may be either the end of a hanging light switch or the <unk> of a curtain ; the hanging <unk> was to become a signature for the artist . Apart from its symbolic meaning , it has a <unk> function , framing the painting with a further set of vertical lines . Such an object reappears most prominently in the centre panel of his 1973 <unk> , May – June 1973 , where it is clearly a dangling light bulb . For <unk> , these elements were intended to make the figure <unk> in and out of sight for the viewer , alluding to the fact that bulbs can be on or off , <unk> open or closed .

The figure 's mouth is opened wide as if screaming , an expression <unk> took from a still he kept of the nurse screaming in <unk> <unk> 's Odessa Steps massacre sequence in his 1925 silent film Battleship <unk> . In 1984 , the broadcaster <unk> Bragg asked <unk> about the still , and observed that in his earlier career the artist seemed preoccupied with the <unk> of the human mouth . <unk> replied , " I had always thought that I would be able to make the mouth with all the beauty of a <unk> landscape though I never succeeded in doing so . " When Bragg asked why he thought he had failed , <unk> said , " It should be all much more colour , should have got more of the interior of the mouth , with all the colours of the interior of the mouth , but I didn 't happen to get it . " His interest in the mouth was further stimulated by a medical textbook of <unk> oral cavities bought in a second @-@ hand <unk> , kept in his studio and to which he often referred to .

The glass cage might imply a vacuum that the figure 's voice is unable to escape ; as if it is screaming in silence . <unk> later in life , <unk> said that he had " wanted to paint the scream more than the horror . I think , if I had really thought about what causes somebody to really scream , it would have made the scream ... more successful " . The work evokes memories of the Second World War . The glass enclosure of his 1949 Chicago Study for a Portrait is often seen as <unk> photographs of Adolf <unk> 1961 trial before a Jerusalem District Court , when he was held within a similar cage . <unk> strongly resisted literal comparisons though , and stated that he used the device so he could frame and " really see the image – for no other reason . I know it 's been interpreted as being many other things . " Other critics saw similarities between the glass case and the radio <unk> of late 1930s broadcasters who warned against the impending <unk> . Denis Farr notes that <unk> was sympathetic to George Orwell and referred in interviews to <unk> " shouting voices ... and trembling hands ... convey [ ing ] the harsh atmosphere of an <unk> . "

= = Influences = =

The so @-@ called " space frame " had already been used by Alberto <unk> in the 1930s , and the two artists became friends in the 1960s . However <unk> had by 1949 used it only in <unk> contexts before <unk> 's <unk> , and in turn influenced his use in " The Cage " of 1950 . A similar two dimensional construct is found in Henry Moore 's works , notably his " <unk> for King and Queen " , constructed three years after <unk> 's Head . It is difficult to <unk> how these artists influenced and informed each other . What is notable is that <unk> continued to use the motif , with intervals until the end of his life . Sylvester suggests his finest example is the 1970 Three Studies of the Male Back .

The full @-@ length golden curtain @-@ like folds painted in heavy brush <unk> are in part influenced by <unk> but also similar to <unk> 's 1558 Portrait of Cardinal Filippo <unk> . <unk> <unk> the Old Master 's device to isolate and distance the sitter from the viewer ; the black ground @-@ paint is visible through the folds , making the separation all the more affecting . <unk> had already used similar forms in his Chicago panel , and they were to become a feature of his most acclaimed 1950s works , especially in his " screaming <unk> " . He became fascinated with the veil or curtain as a motif in painting , and collected many reproductions of works by <unk> and <unk> in which it is employed . He had begun his career as an interior <unk> and designer of furniture and <unk> in the mid @-@ 1930s , and later said that he liked " rooms hung all round with just <unk> hung in even folds " . <unk> or <unk> appear in <unk> 's earliest works , notably the 1949 Study from the Human Body , always in portraits and always in front of , rather than behind , the figure .

Head VI is closely modelled on <unk> 's c . 1650 Portrait of Innocent X , today in the <unk> <unk> Gallery , Rome . <unk> cautiously avoided seeing the original , even when he spent three months in Rome in 1954 . Critics speculate he was afraid of being disappointed , or thought that an intimate knowledge of the painting would dull his imagination . Yet his fascination was all @-@ consuming and he reproduced variants of it <unk> for almost two decades ; an examination and homage described as " without parallel in the history of art " . <unk> 's approach differs to <unk> 's in a number of ways : both artists were expressive , yet <unk> 's broad brush @-@ <unk> and freedom with paint contrast with <unk> 's tight and controlled treatment . He <unk> <unk> 's positioning of the pope to place him above the viewer 's point of view , elevating and <unk> him . This was already a common technique in commercial , promotional photography but in <unk> 's hands , <unk> argues , the angle places the pope on a kind of stage for the viewer to <unk> observe .

Although <unk> revered <unk> 's portrait , he did not try and reproduce the earlier painting . In interviews , he said that he saw flaws in <unk> 's work and that he viewed that social structure and order as , according to art historian <unk> <unk> , " obsolete and decayed " . <unk> 's approach was to elevate his subject so he could knock him down again , thereby making a <unk> comment on the treatment of royalty in both old master and contemporary painting . Yet <unk> 's influence is apparent in many aspects of the painting . The sitter 's pose closely echoes the original , as does the violet and white colouring of his cope , which is built up through broad , thick , brush @-@ <unk> . The influence can be further seen in the gold @-@ coloured ornaments on the back of the seat that extend on both sides of the figure . Art historian <unk> <unk> describes the work as a mixture of <unk> and subversion that pays tribute to <unk> , while at the same time <unk> his painting .

Sylvester <unk> the influence of late works by <unk> in other aspects , especially in the deep and rich colouring , <unk> 's portrayals of Philip IV , and agrees with identification of <unk> of Edgar <unk> as a source . He believes <unk> borrowed from <unk> the use of parallel heavy folds to create the illusion of what <unk> described as " <unk> " , as seen in the earlier artist 's After the Bath , Woman drying herself . Sylvester makes a further direct link between the folds and the transparent veil in <unk> 's Portrait of Cardinal Filippo <unk> . He believes the folds serve to " push the viewer back " , creating a distance from the subject , an effect he sees as similar to the separation between and orchestra and setting ; others view the folds as more closely resembling the bars of a prison . Sylvester describes them as an <unk> of background <unk> into stripes that are made to appear as if they pass through the sitter . In his " <unk> with Francis <unk> " series of books , he asked <unk> why he found the effect so poignant . The artist replied , " Well , it means that the sensation doesn 't come straight out at you but <unk> slowly and gently through the gaps . "

When asked why he was compelled to revisit the <unk> so often , <unk> replied that he had nothing against <unk> per <unk> , but merely sought " an excuse to use these colours , and you can 't give ordinary clothes that purple colour without getting into a sort of false <unk> manner . " <unk> sees Head VI as a reaction against <unk> , and a commentary on how the papacy is " obsolete and decayed " , with a pope resistant to both modernisation and <unk> . To him , the figure seems to " resist the <unk> of image and tries to halt the impending collapse of the established work order . He screams and <unk> , clutching at arms of his throne . " Sylvester notes that <unk> was impressed by Picasso 's <unk> and handling of paint , especially in Picasso 's 1930s works ; and suggests that the white <unk> around the pope 's <unk> may be influenced by the 1913 Woman in a <unk> <unk> in an <unk> .

= = Critical reception = =

When <unk> undertook the series late in 1948 he was something of a two @-@ hit wonder . He had success in 1944 with Three Studies for Figures at the Base of a <unk> and to a lesser extent with Painting ( 1946 ) , both of which were highly regarded but viewed as <unk> . The exhibition was a success , and marked his critical breakthrough . Until then , he had been highly regarded but capable of only occasional <unk> . The full show established him in the minds of critics as , according to Michael <unk> , " more of a force to be <unk> with in the contemporary scene " . While some found his images <unk> and <unk> , they wrote about him all the same , sealing his reputation as the <unk> terrible of post @-@ war British art . The critic for The Observer wrote , " The recent paintings ... <unk> as they are , cannot be ignored . Technically they are superb , and the masterly handling of large areas of <unk> grey , flushed with a sudden pink or green , only makes me regret the more that the artist 's gift should have been brought to subjects so esoteric " .

Most critics focused on Heads I and VI , remarking favourably on the progression between the two . While some found the inherent violence of the paintings <unk> , <unk> was a skilled publicist and turned the bad press into notoriety , and brought <unk> 's work to national attention . <unk> notes that the exhibition showed <unk> no longer needed <unk> material to make an impact , and was now capable of creating an intense emotional response through more subtle means , and had found a way of presenting the human condition in the way he had sought , by presenting his sitter " in a <unk> setting , a cage or [ behind ] a parted <unk> ... the rest , the most essential , lay in the manipulation of the infinitely <unk> medium of oil paint " . After the showing <unk> gradually became " less the <unk> with an occasional image of <unk> <unk> and more a force to be <unk> with on the contemporary scene " . His reputation and the value of his panels rose dramatically , and after the showing he was sought after by European , American and African collectors and galleries , commanding prices as high as £ 400 for single works , unusual for a contemporary British artist of the time .

= = <unk> = =

Head VI was first exhibited at the Hanover Gallery , London , in 1949 . It was acquired by the Arts Council 's <unk> Gallery in 1952 . The <unk> has loaned it out a number of times since , including for major <unk> at the Grand <unk> , Paris in 1971 , and the Hugh Lane Gallery , Dublin , in 2000 .

In May 1996 , the National Gallery took on loan <unk> 's Innocent X portrait and hung it alongside four <unk> paintings ; Head VI , Pope I ( 1951 ) , Pope 1961 and Pope 1965 . <unk> believes that <unk> would have disapproved of such a showing with a work he considered one of the finest ever painted , but writes that two , including Head VI , " stood up to it , and even enhanced its authority as one of the most penetrating studies of human nature and human power " .

= <unk> =

<unk> was a movement in early 20th @-@ century Anglo @-@ American poetry that favored precision of imagery and clear , sharp language .

<unk> has been described as the most influential movement in English poetry since the activity of the Pre @-@ <unk> . As a poetic style it gave <unk> its start in the early 20th century , and is considered to be the first organized <unk> literary movement in the English language . <unk> is sometimes viewed as ' a succession of creative moments ' rather than any continuous or sustained period of development . René <unk> remarked that ' It is more accurate to consider <unk> not as a doctrine , nor even as a poetic school , but as the association of a few poets who were for a certain time in agreement on a small number of important principles ' .

The <unk> rejected the sentiment and <unk> typical of much Romantic and Victorian poetry , in contrast to their contemporaries , the Georgian poets , who were generally content to work within that tradition . In contrast , <unk> called for a return to what were seen as more Classical values , such as <unk> of presentation and economy of language , as well as a willingness to experiment with non @-@ traditional verse forms . <unk> use free verse .

<unk> publications appearing between 1914 and 1917 featured works by many of the most prominent modernist figures , both in poetry and in other fields . The <unk> group was centered in London , with members from Great Britain , Ireland and the United States . <unk> unusually for the time , a number of women writers were major <unk> figures .

A characteristic feature of <unk> is its attempt to isolate a single image to reveal its essence . This feature mirrors contemporary developments in avant @-@ garde art , especially <unk> . Although <unk> <unk> objects through the use of what Ezra Pound called " luminous details " , Pound 's <unk> Method of juxtaposing concrete instances to express an <unk> is similar to <unk> 's manner of <unk> multiple perspectives into a single image .

= = Pre @-@ <unk> = =

Well @-@ known poets of the <unk> era of the 1890s , such as Alfred Austin , Stephen Phillips , and William Watson , had been working very much in the shadow of Tennyson , producing weak imitations of the poetry of the Victorian era . They continued to work in this vein into the early years of the 20th century . As the new century opened , Austin was still the serving British Poet Laureate , a post which he held up to 1913 . In the century 's first decade , poetry still had a large audience ; volumes of verse published in that time included Thomas Hardy 's The <unk> , Christina <unk> 's posthumous <unk> Works , Ernest <unk> 's Poems , George Meredith 's Last Poems , Robert Service 's <unk> of a <unk> and John <unk> 's <unk> and Poems . Future Nobel Prize winner William Butler Yeats was <unk> much of his energy to the Abbey Theatre and writing for the stage , producing relatively little lyric poetry during this period . In 1907 , the Nobel Prize for Literature was awarded to <unk> Kipling .

The origins of <unk> are to be found in two poems , Autumn and A City Sunset by T. E. <unk> . These were published in January 1909 by the Poets ' Club in London in a booklet called For Christmas <unk> . <unk> was a student of mathematics and philosophy ; he had been involved in the setting up of the club in 1908 and was its first secretary . Around the end of 1908 , he presented his paper A <unk> on Modern Poetry at one of the club 's meetings . Writing in A. R. <unk> 's magazine The New Age , the poet and critic F. S. Flint ( a champion of free verse and modern French poetry ) was highly critical of the club and its publications . From the ensuing debate , <unk> and Flint became close friends . In 1909 , <unk> left the Poets ' Club and started meeting with Flint and other poets in a new group which <unk> referred to as the " <unk> Club " ; they met at the <unk> Tower restaurant in London 's <unk> to discuss plans to reform contemporary poetry through free verse and the <unk> and <unk> and the removal of all unnecessary <unk> from poems . The interest in Japanese verse forms can be placed in a context of the late Victorian and <unk> revival of interest in <unk> and <unk> as witnessed in the 1890s vogue for William Anderson 's Japanese prints donated to the British Museum , performances of <unk> plays in London , and the success of Gilbert and Sullivan 's <unk> The <unk> ( 1885 ) . Direct literary models were available from a number of sources , including F. V. <unk> 's 1866 <unk> <unk> is <unk> , or , <unk> by a Century of Poets , Being Japanese <unk> Odes , the first English @-@ language version of the <unk> <unk> , a 13th @-@ century anthology of 100 <unk> , the early 20th @-@ century critical writings and poems of <unk> Hartmann , and contemporary French @-@ language translations .

The American poet Ezra Pound was introduced to the group in April 1909 and found that their ideas were close to his own . In particular , Pound 's studies of Romantic literature had led him to an admiration of the <unk> , direct expression that he detected in the writings of <unk> Daniel , Dante , and <unk> <unk> , amongst others . For example , in his 1911 – 12 series of essays I gather the limbs of Osiris , Pound writes of Daniel 's line " <unk> de <unk> m <unk> <unk> " ( " it rests me to think of her " ) ( from the <unk> <unk> <unk> <unk> 'l <unk> <unk> ) : " You cannot get statement simpler than that , or clearer , or less <unk> " . These criteria of <unk> , clarity and lack of rhetoric were to be amongst the defining qualities of <unk> poetry . Through his friendship with Laurence <unk> , Pound had already developed an interest in Japanese art by examining <unk> @-@ e prints at the British Museum , and he quickly became absorbed in the study of related Japanese verse forms .

In an article in La France , 1915 , the French critic , <unk> de <unk> described the <unk> as descendants of the French <unk> and in a 1928 letter to the French critic and translator René <unk> , Pound was keen to emphasise another ancestry for <unk> , pointing out that <unk> was indebted to a <unk> tradition , linking back via William Butler Yeats , Arthur Symons and the <unk> ' Club generation of British poets to <unk> and the <unk> source was amplified further in <unk> 's study published in 1929 , in which he concluded however great the divergence of technique and language ' between the image of the <unk> and the ' symbol ' of the <unk> there is a difference only of precision ' . In 1915 , Pound edited the poetry of another 1890s poet , Lionel Johnson for the publisher <unk> Mathews . In his introduction , he wrote

= = Early publications and statements of intent = =

In 1911 , Pound introduced two other poets to the <unk> Tower group : his former fiancée Hilda <unk> ( who had started signing her work <unk> ) and her future husband Richard <unk> . These two were interested in exploring Greek poetic models , especially <unk> , an interest that Pound shared . The compression of expression that they achieved by following the Greek example complemented the proto @-@ <unk> interest in Japanese poetry , and , in 1912 , during a meeting with them in the British Museum tea room , Pound told <unk> and <unk> that they were <unk> and even <unk> the signature <unk> <unk> to some poems they were discussing .

When Harriet Monroe started her Poetry magazine in 1911 , she had asked Pound to act as foreign editor . In October 1912 , he submitted <unk> three poems each by <unk> and <unk> under the <unk> <unk> , ( published in the November 1912 second issue <unk> ) with a note which described <unk> as ' one of the ' <unk> ' . This note , along with the <unk> note ( ' The Complete Works of T. S. <unk> ' ) in Pound 's book ( also published in Autumn 1912 ) entitled <unk> are considered to be first appearances of the word <unk> ( later <unk> to ' <unk> ' ) in print .

<unk> 's poems , <unk> , To a Greek <unk> , and <unk> <unk> <unk> , were in the November issue of Poetry , and <unk> ' s , Hermes of the Ways , <unk> , and <unk> , appeared in the January 1913 issue ; <unk> as a movement was launched . Poetry 's April issue published what came to be seen as " <unk> 's enabling text " , the <unk> @-@ like poem of Ezra Pound entitled " In a Station of the Metro " :

The <unk> of these faces in the crowd ;

<unk> on a wet , black <unk> .

The March 1913 issue of Poetry contained A Few Don <unk> by an <unk> and the essay entitled <unk> both written by Pound , with the latter being attributed to Flint . The latter contained this <unk> statement of the group 's position :

Direct treatment of the " thing " , whether <unk> or objective .

To use absolutely no word that does not contribute to the presentation .

As regarding rhythm : to compose in sequence of the musical phrase , not in sequence of the <unk> .

Pound 's note opened with a definition of an image as " that which presents an intellectual and emotional complex in an instant of time " . Pound goes on to state , " It is better to present one Image in a lifetime than to produce <unk> works " . His list of " don <unk> " reinforced his three statements in " <unk> " , while warning that they should not be considered as <unk> but as the " result of long contemplation " . Taken together , these two texts comprised the <unk> programme for a return to what they saw as the best poetic practice of the past . <unk> Flint commented " we have never claimed to have invented the moon . We do not pretend that our ideas are original . "

The 1916 preface to Some <unk> Poets comments " <unk> does not merely mean the presentation of pictures . <unk> refers to the manner of presentation , not to the subject . "

= = Des <unk> = =

<unk> to promote the work of the <unk> , and particularly of <unk> and <unk> , Pound decided to publish an anthology under the title Des <unk> . It was first published in Alfred <unk> 's little magazine The <unk> and was later published in 1914 by Alfred and Charles <unk> in New York and by Harold <unk> at the Poetry <unk> in London . It became one of the most important and influential English @-@ language collections of modernist verse . Included in the thirty @-@ seven poems were ten poems by <unk> , seven by <unk> , and six by Pound . The book also included work by <unk> Flint , <unk> <unk> , Amy Lowell , William Carlos Williams , James Joyce , Ford <unk> Ford , Allen <unk> and John <unk> <unk> was also another included in the important 1963 anthology by William Pratt The <unk> Poem Modern Poetry in miniature .

Pound 's editorial choices were based on what he saw as the degree of sympathy that these writers displayed with <unk> precepts , rather than active participation in a group as such . Williams , who was based in the United States , had not participated in any of the discussions of the <unk> Tower group . However , he and Pound had long been corresponding on the question of the renewal of poetry along similar lines . Ford was included at least partly because of his strong influence on Pound , as the younger poet made the transition from his earlier , Pre @-@ <unk> @-@ influenced style towards a harder , more modern way of writing . The inclusion of a poem by Joyce , I Hear an Army , which was sent to Pound by <unk> Yeats , took on a wider importance in the history of literary <unk> , as the subsequent correspondence between the two led to the serial publication , at Pound 's behest , of A Portrait of the Artist as a Young Man in The <unk> . Joyce 's poem is not written in free verse , but in rhyming <unk> . However , it strongly reflects Pound 's interest in poems written to be sung to music , such as those by the <unk> and <unk> <unk> . The book met with little popular or critical success , at least partly because it had no introduction or commentary to explain what the poets were attempting to do , and a number of copies were returned to the publisher .

= = Some <unk> Poets = =