Henri Gaudier-Brzeska

In-depth chronological analysis of the correspondence between the British art critic Adrian Stokes and the American poet Ezra Pound and how it illuminates each others' work, especially in the 1930s. See also Art and its Discontents: the Early Life of Adrian Stokes (London: Ashgate, 2002; PA: Penn State U. Press, 2003).

"«A very old English tradition». Alabaster and direct carving in British sculpture (1910-1939)".  Entre las décadas de 1910 y 1930 el alabastro adquirió un importante protagonismo entre los escul-tores británicos, especialmente entre aquellos que practicaron y defendieron la talla directa como una estrategia de modernidad, como Henri Gaudier-Brezska, Henry Moore, Barbara Hepworth o Jacob Epstein. Analizamos los motivos que posibilitaron esa revitalización en el uso del material y el modo en que el redescubrimiento de los alabastros medievales ingleses pudo favorecerla. Abstract Between the decades of 1910 and 1930 alabaster acquired an important role among British sculptors , especially among those who practiced and defended direct carving as a strategy of modernity, such as Henri Gaudier-Brezska, Henry Moore, Barbara Hepworth or Jacob Epstein. We analyze the reasons that made possible that revitalization in the use of this material and the way in which the re-discovery of the medieval English alabasters could favor it.

The aim of this article is to compare portraits of Ezra Pound in the visual arts (painting, photography, sculpture, drawing) with his own appropriation of some their aesthetic features. Indeed Pound's poetics often developed in parallel with fellow artists' work. One will also analyze the difference between individual and collective portraits of Ezra Pound, and the way they interact with Pound's poetic masks. How do they influence each other? What influence does the artistic medium have on the portrait itself? Eventually, Pound's portraits often contain elements that are constructed by the poet himself, posing as both canonical and revolutionary.