Nocturne in Grey and Silver by Jame McNeill Whistler
Dark walls of water
and sea-foam lace
reach up for a moon
pinned impossibly high,
while the woods settle in
to the bed of the earth
with a shrug and a yawn and a sigh.
Then you lean into me
as I reach out for you
and we bid all the specters good bye,
at the edge
of a world
where the nightmares are curled
and the stars fall away from the sky.
Over in the Imaginary Garden Hedgewitch asked us to write a piece in keeping with the Tonalist painting movement, "with 'no under drawing,' by tkaing an idea, a place, a persn, an event or a mood and quickly fleshing out a portrait of it in a blur of words. Use language to mass light and dark verbal'tones' and build up our poem in dashes of description and image. The end result should be something immediate but 'misty.' Or we could use a painting from this school to inspire our writing. I'm not sure I achieved that first bit, so the painting is one from the Tonalist School.
but the mill, the night watch, the philosopher in
sunflowers, the irises, the olive trees
or guernica or three musicians or the kiss
so long as it matches the couch
Sometimes I wonder about how we judge the value of art, and in this picture, provided by Bjorn at The Imaginary Garden, the size of the canvas relative to the aritst is what prompted this particular little musing.
For Margaret's "Play it Again, Toads" at IGRT. I went back to Mama Zen's Words Count. She asked us to write about a power image (part art, part personal mythology, part creative shorthand part art, part personal mythology, and part creative shorthand...anything that a writer imbues with a greater meaning that it would ordinarily have and adopts it as a signature symbol) in 25 words or less. I'm not sure this is really a "power image" by her definition, but it is a recurring thing in my writing.