MEMETERIA by Thomas May

Music & the Arts

Glorified One

Glorified One, Leo Kenney (1945)

Glorified One, Leo Kenney (1945)

I was intrigued by the Stravinsky connection in this painting, currently on display as part of Seattle Art Museum’s Modernism in the Pacific Northwest: The Mythic and the Mystical. Leo Kenney (1925-2001), a native of Spokane, belonged to the second generation of the Northwest School of painters.

He referred to “The Glorification of the Chosen One” section from Stravinsky’s Rite of Spring as the inspiration for Glorified One.

Writes the curator Patricia Junker: “Yet Kenney was well-versed in Christian scripture and might just as well have been invoking the idea of resurrection in the post-apocalyptic second coming of Christ. A creature appears to live within stone, the one remaining sign of life in a landscape of complete destruction, perhaps a symbol of hope — or it may represent the final sacrifice to plead for peace and renewal.”

The enormous influence of Stravinsky’s score on other composers — which continues to this very moment — is well documented. Associations between this period of his work and the “primitivism” and Cubism of his colleague Pablo Picasso are also frequently discussed in a more general way (usually in terms of their putative influence on the music rather than the other direction). But I’m curious now about how the music of Sacre specifically influenced particular visual artists. Any other candidates?

Filed under: art exhibition, painters, Stravinsky

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