The drawings of Peter Milton (New York: Hudson Hills Press, 1993)Īnd Peter Milton: Complete Prints, 1960–1996 (Sanįrancisco: Chronicle Books, 1996).
The two major booksĭevoted to his work make a compelling case: The primacy of touch: Initial conviction that Milton’s art was the ideal foil for And we spent the next twenty minutes alternatelyĮxclaiming over and silently admiring Milton’s art. Who we want!” - our words tumbling over one another in Tracks our mouths dropped open more or less simultaneously, andĪfter an astonished beat we said, “That’s it! That’s Neither of us had ever heard of before and whose work to our At that very point in our conversation we turned a cornerĪnd came face to face with an etching by Peter Milton (b. Rejecting several, and about what the ideal art for the novel mightīe like. Talked about possible artists for Little, Big, considering and Wandered, only intermittently engaged by the work around us, we Afterwards John and I went up to the Museum’sįourth floor, which was dedicated to 20th Century Art. His students for a tour of the Seattle Art Museum’s RenaissanceĪrt Exhibit. The Summer of 1995, John Crowley was in Seattle teaching at theĬlarion West Writers Workshop. In the reader’s imagination, not foreclose them. Little, Big should increase the visual possibilities at play
“That’s not how I imagined that character to The reader’s visual imagining of characters and scenes in theīook, as so much book illustration, no matter how superb, so oftenĭoes. We were also concerned that the art not detract from Visionary quality, work that was simultaneously powerful and “match” John’s prose in feeling-tone, theme, and Understood the difficulty of finding an artist whose work would That Little, Big cried out for an illustrated edition we also Or reversed in the way they reflect one another, or remember oneĪnother and in the way they fade without disappearing.Ĭrowley and I have been talking about publishing a dream edition of With variations, like musical themes, or like musical themes are inverted Shaped Little, Big, in Milton: in the way his images repeat themselves Góngora - but I recognize many of my own impulses, especially those that Really isn’t matchable with Brahms, or Ryder with Ives, or Bernini with In the arts there are no equivalences - Tennyson They are unmistakable for anyone else’s, and yet each one isĪ surprise in itself. Mysterious and yet patent they are at once hard and soft, evanescent and
Peter Milton’s astonishing images are sensual and yet wholly innocent,
0 kommentar(er)
