Painted Poetry, Poetry by the Meter. The Visual Vanguard in Poémes Peintre (1922) by Vicente Huidobro and 5 Meters of Poems (1927) by Carlos Oquendo de Amat
In this article, examines the exhibition and construction of some of the Painted Poems that Vicente Huidobro exhibited in Paris, in 1922, a fact that marks the provocative relationship between poetry and painting throughout his art exhibition. On the other hand, the production...
- Autores:
- Tipo de recurso:
- http://purl.org/coar/resource_type/c_6686
- Fecha de publicación:
- 2020
- Institución:
- Universidad Pedagógica y Tecnológica de Colombia
- Repositorio:
- RiUPTC: Repositorio Institucional UPTC
- Idioma:
- spa
- OAI Identifier:
- oai:repositorio.uptc.edu.co:001/12771
- Acceso en línea:
- https://revistas.uptc.edu.co/index.php/la_palabra/article/view/9490
https://repositorio.uptc.edu.co/handle/001/12771
- Palabra clave:
- Acentric Poem
Avant Garde
Carlos Oquendo de Amat
Painted Poem
Vicente Huidobro
Carlos Oquendo de Amat
poema acéntrico
poema pintado
Vanguardia
Vicente Huidobro
- Rights
- License
- Derechos de autor 2020 LA PALABRA
Summary: | In this article, examines the exhibition and construction of some of the Painted Poems that Vicente Huidobro exhibited in Paris, in 1922, a fact that marks the provocative relationship between poetry and painting throughout his art exhibition. On the other hand, the production of poetry is explored as a dynamic and mobile aesthetic object in 5 metros de poemas by Carlos Oquendo de Amat. With the analysis of this poetic production I propose to establish a comparison between the poems "Paisaje" by Huidobro, and "Film del paisaje" by Oquendo de Amat, to point out how the need for design and the graphic-spatial dimension of the poems marked the avant-garde spirit in Latin America, while at the same time leading the poets to conceive poetry as a material and aesthetic production beyond the traditional support and format of the book. |
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