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This water color is reminiscent of Plumly's simple style. He and this artist make minimal, though profound use of language to convey a feeling.
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As in this painting, Plumly does not always make known the details within his poems. In the way that the faces of both of these women are concealed, Plumly does not always tell the reader certain things about the subjects of his poem. In a way, this makes it easier to relate to his poems in the same way that, in this painting, it is easy to apply the face of someone the view knows to that of the woman and child.
Plumly's use of surprise line breaks and abrupt shifts in subject matter are mirrored Maslanka's sudden thematic stylistic and emotional shifts in his fourth symphony. Also, both Maslanka and Plumly were inspired by nature, Maslanka more on the awesome and powerful forces of nature like waterfalls and lightning storms, Plumly on the quieter, softer aspects of nature.
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Plumly grew up in rural settings and wrote much of his verse with this in mind. Some of it he romanticized as is represented in the open setting of this painting. Other qualities though, like the coloring in this piece, make the poem dark and heavy-hearted.
A similar duality occurs in much of Plumly's more confessional verses about his home. It is clear that he loved his mother and father, but was frustrated by the abuse and alcoholism within the relationship.
A similar duality occurs in much of Plumly's more confessional verses about his home. It is clear that he loved his mother and father, but was frustrated by the abuse and alcoholism within the relationship.
As Bax was influenced by nature, so was Plumly. Also, Plumly's poetry, though modern maintains some classical qualities such as consistent line lengths and rhythm within individual poems.