Five Poems about Art Works

 In Poetry Classes London


Frank O’Hara, an American poet, writer and art critic, a leader of leader of the “New York School” of poets, a group that included John Ashbery, Barbara Guest, Kenneth Koch, and James Schuyler. O’Hara wrote regular art criticism, serving as editorial associate for Art News, he also was a curator at the Museum of Modern Art in New York, so naturally art became part of his poetry too.

His poetry is personal in tone and content, intimate, generally autobiographical. The poem Having a Coke with You is affirmative, delicate, precise, a work of frontal immediacy, heartfelt, with feeling no longer hidden behind a bravado of brilliant images and discordant segments.

Having a Coke with You

is even more fun than going to San Sebastian, Irún, Hendaye, Biarritz, Bayonne
or being sick to my stomach on the Travesera de Gracia in Barcelona
partly because in your orange shirt you look like a better happier St. Sebastian
partly because of my love for you, partly because of your love for yoghurt
partly because of the fluorescent orange tulips around the birches
partly because of the secrecy our smiles take on before people and statuary
it is hard to believe when I’m with you that there can be anything as still
as solemn as unpleasantly definitive as statuary when right in front of it
in the warm New York 4 o’clock light we are drifting back and forth
between each other like a tree breathing through its spectacles

and the portrait show seems to have no faces in it at all, just paint
you suddenly wonder why in the world anyone ever did them
I look
at you and I would rather look at you than all the portraits in the world
except possibly for the Polish Rider occasionally and anyway it’s in the Frick
which thank heavens you haven’t gone to yet so we can go together for the first time
and the fact that you move so beautifully more or less takes care of Futurism
just as at home I never think of the Nude Descending a Staircase or
at a rehearsal a single drawing of Leonardo or Michelangelo that used to wow me
and what good does all the research of the Impressionists do them
when they never got the right person to stand near the tree when the sun sank
or for that matter Marino Marini when he didn’t pick the rider as carefully
as the horse
it seems they were all cheated of some marvelous experience
which is not going to go wasted on me which is why I’m telling you about it



J. Kennedy

The Nude Descending a Staircase  from O’Hara’s poem also appears in work of X.J. Kennedy, who captures the figure’s unthinking, mechanistic movement  – “A constant thresh of thigh on thigh.” This is an earlier poem than O’Hara’s, written in 1961.


Nude Descending a Staircase


Toe upon toe, a snowing flesh,
A gold of lemon, root and rind,
She sifts in sunlight down the stairs
With nothing on. Nor on her mind.

We spy beneath the banister
A constant thresh of thigh on thigh–
Her lips imprint the swinging air
That parts to let her parts go by.

One-woman waterfall, she wears
Her slow descent like a long cape
And pausing, on the final stair
Collects her motions into shape.


Sylvia Plath


Sylvia Plath uses the unsettling mood of De Chirico’s painting The Disquieting Muses (1918), matching it and even heightening in her disturbing poem of the same title. In her work Plath imagines her childhood self haunted by three faceless muses, who recall the Three Fates of classical mythology, as well as other trios of sinister women from myth and literature. With their terrifying blank faces, they “stand vigil” over her, their strange figures, like de Chirico’s painting, casting their long shadows “in the setting sun / That never brightens or goes down”.



The Disquieting Muses (1957)


Mother, mother, what ill-bred aunt

Or what disfigured and unsightly

Cousin did you so unwisely keep

Unasked to my christening, that she

Sent these ladies in her stead

With heads like darning-eggs to nod

And nod and nod at foot and head

And at the left side of my crib?


Mother, who made to order stories

Of Mixie Blackshort the heroic bear,

Mother, whose witches always, always,

Got baked into gingerbread, I wonder

Whether you saw them, whether you said

Words to rid me of those three ladies

Nodding by night around my bed,

Mouthless, eyeless, with stitched bald head.


In the hurricane, when father’s twelve

Study windows bellied in

Like bubbles about to break, you fed

My brother and me cookies and Ovaltine

And helped the two of us to choir:

“Thor is angry: boom boom boom!

Thor is angry: we don’t care!”

But those ladies broke the panes.


When on tiptoe the schoolgirls danced,

Blinking flashlights like fireflies

And singing the glowworm song, I could

Not lift a foot in the twinkle-dress

But, heavy-footed, stood aside

In the shadow cast by my dismal-headed

Godmothers, and you cried and cried:

And the shadow stretched, the lights went out.


Mother, you sent me to piano lessons

And praised my arabesques and trills

Although each teacher found my touch

Oddly wooden in spite of scales

And the hours of practicing, my ear

Tone-deaf and yes, unteachable.

I learned, I learned, I learned elsewhere,

From muses unhired by you, dear mother


I woke one day to see you, mother,

Floating above me in bluest air

On a green balloon bright with a million

Flowers and bluebirds that never were

Never, never, found anywhere.

But the little planet bobbed away

Like a soap-bubble as you called: Come here!

And I faced my traveling companions.,


Day now, night now, at head, side, feet,

They stand their vigil in gowns of stone,

Faces blank as the day I was born,

Their shadows long in the setting sun

That never brightens or goes down.

And this is the kingdom you bore me to,

Mother, mother. But no frown of mine

Will betray the company I keep.




H. Auden – an Anglo-American poet, Auden grew up in Birmingham and just before the WWII he emigrated to the United States. He won the Pulitzer Prize in 1948 for The Age of Anxiety. Much of his poetry is concerned with moral issues and evidences a strong political, social, and psychological context.


In his painting Landscape with the Fall of Icarus (1558), Pieter Bruegel the Elder exposes the insignificance of human suffering to the universe is indeed its theme. The plowman carries on with his task, while the “expensive, delicate ship”, after no doubt witnessing the incident, had “somewhere to get to and sailed calmly on.” It takes a while for us to spot the pale legs kicking in the green sea to the right of the picture, since Bruegel’s great painting shows the fall of Icarus as an incidental occurrance, not the main event of this scene. This scene Auden depicts in his Musée des Beaux Arts, one of his most famous poems.


Musée des Beaux Arts (1938)


About suffering they were never wrong,

The Old Masters: how well they understood

Its human position; how it takes place

While someone else is eating or opening a window or just walking dully along;

How, when the aged are reverently, passionately waiting

For the miraculous birth, there always must be

Children who did not specially want it to happen, skating

On a pond at the edge of the wood:

They never forgot

That even the dreadful martyrdom must run its course

Anyhow in a corner, some untidy spot

Where the dogs go on with their doggy life and the torturer’s horse

Scratches its innocent behind on a tree.


In Brueghel’s Icarus, for instance: how everything turns away

Quite leisurely from the disaster; the plowman may

Have heard the splash, the forsaken cry,

But for him it was not an important failure; the sun shone

As it had to on the white legs disappearing into the green

Water; and the expensive delicate ship that must have seen

Something amazing, a boy falling out of the sky,

Had somewhere to get to and sailed calmly on.


Elizabeth Jennings – one of the most popular British poets of the twentieth century. Her poems are personal, characterised by an unassuming technical craft and emotional restraint. A lot of her work has devotional aspect. Jennings published over twenty volumes of poetry during her lifetime.


Many of Jennings’s poems are responses to paintings, spanning from Mantegna to Mondrian. In her poem Rembrandt’s Late Self Portrait, she speaks of the searing and unflattering honesty of Rembrandt’s self-portraits he made in his old age – “Your brush’s care / Runs with self-knowledge” –  which, through the unflinching depiction of nature’s cruel changes, help divest us “of fear of death.”


Rembrandt’s Late Self-Portraits (1975)


You are confronted with yourself. Each year

The pouches fill, the skin is uglier.

You give it all unflinchingly. You stare

Into yourself, beyond. Your brush’s care

Runs with self-knowledge. Here


Is a humility at one with craft.

There is no arrogance. Pride is apart

From this self-scrutiny. You make light drift

The way you want. Your face is bruised and hurt

But there is still love left.


Love of the art and others. To the last

Experiment went on. You stared beyond

Your age, the times. You also plucked the past

And tempered it. Self-portraits understand,

And old age can divest,


With truthful changes, us of fear of death.

Look, a new anguish. There, the bloated nose,

The sadness and the joy. To paint’s to breathe,

And all the darknesses are dared. You chose

What each must reckon with.

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