Beyond Mythological Interpretation: The Interconnectedness of Leonora Carrington’s Writing and Painting

Virginia Lummis

Advisor: Dr. Ann Reynolds

Abstract

This thesis questions the current methodology in which we analyze Leonora Carrington’s artwork, and ventures a new way in which we can interpret her paintings. Carrington once said, “Writing and painting are alike in that both arts – music as well – come out of the fingers and into some receptive artifact. The result, of course, is read, heard, or seen through the receptive organs of those who receive the art and are supposed to ‘Be’ what all these different persons perceive differently. Therefore it seems that any introduction to art is fairly senseless since anybody can think or experience according to who he is.” ¹ While highlighting that all art forms by a particular artist are inherently linked due to coming from a singular person’s creative expression, this quote also touches on a larger truth about art being subjective. Carrington reiterates that if she were to claim a definition for any of her works of art, they would lose their potential to be perceived differently by each individual and would, in turn, be useless. If finding true meaning or defining her characters is futile, as Carrington points out, how can we use her two art forms, writing and painting, to better make sense of them and the artist herself? Instead of attempting to prove ties to more significant concepts or beliefs, it can be more sympathetic to the artist and beneficial for the viewer to find connections that can lead to a better understanding of how the artist herself spun tales. While scholars steer toward these concrete connections, this thesis aims to open a narrative across her art forms that can enrich our understanding of Carrington’s creative process and artwork.

¹ Carrington, Leonora, 1917 Leonora Carrington, a retrospective exhibition, 23