Mina Loy compared the painting to Oelze saying she was waiting for it to light up at any moment.

She said that his canvas, “Expectation” haunted her as there was speculation of an affair between the two.

Mina Loy, according to, The Art World Online, became romantically involved with Oelze from 1932-193.

As Oelze dealt with starvation he was uncomfortable in his own body and therefore it is reflected in his art such as in “In one of the Fallowing Years” which, “depicts a female colossus staring at the viewer, small homunculus apparitions covering her body.”

Their relationship is discussed when talking about his mental illnesses including semi-starvation, poverty, and isolation.

Loy wrote her daughter a description of Richard’s famous painting as a “gigantic back of a commonplace woman looking at the sky,” which shows that Loy had a different perception of this art than Oelze, who focused on all the people in the painting rather than solely the woman.

ntimate details of Loy and Oelze are represented in her novel

which shows that Loy had a different perception of this art than Oelze, who focused on all the people in the painting rather than solely the woman.

Richard’s

In the novel, Jones reacts anxiously to one of Insel’s painting, one similar to Oelze’s “Expectation,” and then ships it to the United States, just as Loy shipped Oelze’s painting to the U.S

ainting

character’s enactment of an embodied, unstable, and automatically conditioned subjectivity.”

rance

even

the characters are said to be a reflection of their relationship with each other.

1930s in Paris

talent counting

with her two characters Mrs. Jones, a gallery director, and Insel, an artist.

d 1970s

The pessimistic tenor of Oelze’s art represented his deep psychological issues that caused him to live a very isolated life after the war in Posteholz.

who started in 1929 when he first encountered surrealist paintings from Max Ernst and René Magritte in Switzerland.

Richard Oelze is a highly regarded German surrealist painter,

The effect of the war on Oelze is shown in his post-1950 art

released from being a held as

Now,

who started

The landscapes of his early work indicate remnants of Impressionism, notably in “My Mother’s Garden” (1905) and “Corsican Village at Sunset” (1905) (Leger & Schmalenbach, 10). Nearing World War I, however, he found the melodiousness of Impressionism irreconcilable with the tumultuous times, so he experimented with Picasso and Braque’s Cubism. His tendency to break figures into tubular shapes earned his work the nickname “tubism”. In 1909, his work was shown in Paris galleries alongside Duchamp, Brancusi, and Picabia. Léger advocated for embracing the modern era. In a 1914 lecture entitled “Contemporary Achievements in Painting”, he likened the sharp contrast in his paintings to that between billboards and landscapes. Léger’s paintings explore unity of Impressionist-style sceneries with modern technology. Léger served in World War I until he was injured in 1917. This exposed Leger to a variety of modern technologies that began appearing in his work; in a 1922 letter, Leger wrote that he enjoys painting “forms necessitated by modern industry”, such as a furnace or machine gun (De Francia 41). Famously referring to modernity as “a life of fragments” (De Francia 46), Léger replicated disintegration with the fragmented posters, stairs, and dummies in his painting, “La Ville” (1919). In 1926, Leger produced the film Ballet mecanique, a non-narrative film that explores the simultaneous disunity and unity of the modern industrial era, through portrayal of machines at work. He stated in 1913 that modernity must “accept as its means of expression an art of dynamic divisionism” (Turvey 39) and look for classical ideals of nature and beauty within the fabrication of technology.

Léger’s paintings explore unity of Impressionist-style sceneries with modern technology.

advocated for embracing the modern era.

The landscapes of his early work indicate remnants of Impressionism, notably in “My Mother’s Garden” (1905) and “Corsican Village at Sunset” (1905) (Leger & Schmalenbach, 10). Nearing World War I, however, he found the melodiousness of Impressionism irreconcilable with the tumultuous times, so he experimented with Picasso and Braque’s Cubism. His tendency to break figures into tubular shapes earned his work the nickname “tubism”. In 1909, his work was shown in Paris galleries alongside Duchamp, Brancusi, and Picabia.

From an early age, Leger was attracted to media in various forms. After apprenticing in an architect’s office, he moved to Paris in 1900, where he studied privately under two professors at Ecole des Beaux-Arts

Léger’s legacy has not been confined to Paris; the Manhattan Museum of Modern Art has exhibited his work five times, most recently in 1998. Leger’s work maintains relevance for ushering in the modern era, uniting traditional styles with industrialization and experimentation.

During the 1930s, Léger visited several countries to give lectures, including Berlin, the United States, and London. In 1945, he joined the French Communist Party. In 1955, he was awarded the Grand Prize at the Sao Paulo Bienal. He died in 1955.

The works of Loy and Léger were often considered in the same circles. They moved to Paris three years apart and shared acquaintances like Picasso and Picabia. They reportedly met on at least one occasion at a Paris dinner party for notable figures in the art community (Burke). Julien Levy, a friend of both, filmed Loy and Leger for an experimental film series on artists at work.

a friend of both, filmed Loy and Leger for an experimental film series on artists at work.

They reportedly met on at least one occasion at a Paris dinner party for notable figures in the art community

three years apart

La Ville” (1919).

He stated in 1913

”,

enjoys

injured

unity

”,

Fernand Léger was a notable French artist and filmmaker during the first half of the twentieth century. A Cubist painter, Leger is known for bold colors and geometric shapes, particularly those portraying modern machinery. Later in life, Leger created experimental films, including the well-known Ballet Mecanique (1926).

”.

it

in which she was to be included

under Ford’s direction

the initial

hus, “Ford was to feel equally at home—and equally in exile—all over Europe and America” (Saunders 18).

The Modernist Era was distinguishable for its incestuous artistic circle of authors, painters, musicians, and the like, but few artists were born into the circle as Ford Madox Ford was in December of 1873—the son of Francis Hueffer, a German music critic, and Catherine Madox Brown, an English painter, pianist, and model; thus much of Ford’s literary success unarguably stemmed from his upbringing.

interactions

are

Yet, the frequency, nature, and depth of Pound’s interaction with Mina Loy remains ambiguous.

Peters

Finally, and most surprisingly, Peters notes the marked similarities in word choice and vocabulary between Pound’s Hugh Selwyn Mauberley and Loy’s work as hints that Pound truly admired–and perhaps at times even strove to emulate–Loy’s abstract, emotionless writing style.

as hints that Pound truly admired–and perhaps at times even strove to emulate–Loy’s abstract, emotionless writing style.

erse?”

points to the contrary

Pound famously coined the term logopoiea–defined as “a dance of the intelligence among words and ideas and modification of ideas and characters”–to describe Loy’s writing.

wherein the eminent Pound was a mentor or role model to the relatively obscure Loy

one-way one

Wilmer states that Pound is frequently misunderstood: “If Pound is obscure, it is largely because of his wide frame of reference; he was also an educator, who used poetry to introduce his readers to works and ideas he had discovered for himself. It is hardly his fault that his syllabus has never been adopted” (Wimer).

Pound remains a divisive figure today. His brilliance as a poet, translator, and thinker are countered by his anti-American rhetoric and association with fascism, resulting in his imprisonment and fall from grace. Loy recalled that Pound “was like a child, and an old professor at the same time” and that he “was a sensitive man who didn’t think other people were sensitive.” Wilmer states that Pound is frequently misunderstood: “If Pound is obscure, it is largely because of his wide frame of reference; he was also an educator, who used poetry to introduce his readers to works and ideas he had discovered for himself. It is hardly his fault that his syllabus has never been adopted” (Wimer). Following his institutionalization,, Pound returned to Venice and stopped writing. He died in Venice on November 1, 1972. His legacy is vast; Pound is widely considered the father of imagism and recognized for his work in both the imagist and modernist sphere

,,

If Pound is obscure, it is largely because of his wide frame of reference; he was also an educator, who used poetry to introduce his readers to works and ideas he had discovered for himself. It is hardly his fault that his syllabus has never been adopted”

“was like a child, and an old professor at the same time” and that he “was a sensitive man who didn’t think other people were sensitive.

His brilliance as a poet, translator, and thinker are countered by his anti-American rhetoric and association with fascism, resulting in his imprisonment and fall from grace.

Deemed insane, he spent 1946 to 1958

He became an anti-war advocate, making several hundred broadcasts airing his political stances, many of which were anti-semitic and pro-fascism, in addition to explicitly critical of the United States’ war effort.

began to become

In Paris, Pound developed a relationship with the young Ernest Hemingway, wrote an opera (which Mina Loy attended), and collaborated with T.S. Eliot in the editing of the latter’s famous poem “The Waste Land.”

Paris, and the impact

the landscape of England, and the course of Pound’s career.

His poetry focused on concrete, succinct language.

His most famous work, “In a Station of the Metro,” was written in 1913. From 1912 to 1914, he also launched the Imagist movement, producing the first imagist manifesto.

arrived

and soon published numerous collections of poetry and became an influential contributor to the New Freewoman/Egoist, Poetry, Others, The Little Review, and numerous other literary magazines.

but traveled to both London in his twenties.

University of Pennsylvania.

behind the literary movement.

“To speak of the modern movement is to speak of [Ezra Pound]; the masterly impresario of modern poets, for without the discoveries he made with his poet’s instinct for poetry, this modern movement would still be rather a nebula than the constellation it has become” (Loy 157-8).