Christina’s World is probably the most iconic painting in American art, so when asked if one of his paintings on the cover of his novel was an intentional nod to Wyeth’s Christina’s World, the author’s answer was – not consciously. However, one can’t help but see parallels, conscious or not, but mainly in the reverse: in almost every way. Composition: it’s all reversed. Color: it’s vibrantly nascent as opposed to feeble and moribund. Instead of being diminished by her environment, she’s almost too big for her environment, as though the picture cannot contain her, as though she controls her world rather than the other way around.
For one less dramatic but no less effective – see next post-LXX (71)