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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
In later life, while living in London, George Claessen returned to poetry, often interrogating the same metaphysical themes he explored in his abstracts. The fruits of these endeavours resulted in a number of volumes, including, Poems of a Painter published in 1967, Poems about Nothing (1981), Collected Poems, (1995) and subsequent inclusion in various poetry anthologies.
Describing his desire to use poetry as a creative alternative to his visual artistic work, he memorably said that it was, '...the outcome of an urge for expression in another form - a phenomenon not uncommon in painters, just as the same would and does apply in reverse to essential poets'.
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
In later life, while living in London, George Claessen returned to poetry, often interrogating the same metaphysical themes he explored in his abstracts. The fruits of these endeavours resulted in a number of volumes, including, Poems of a Painter published in 1967, Poems about Nothing (1981), Collected Poems, (1995) and subsequent inclusion in various poetry anthologies.
Describing his desire to use poetry as a creative alternative to his visual artistic work, he memorably said that it was, '...the outcome of an urge for expression in another form - a phenomenon not uncommon in painters, just as the same would and does apply in reverse to essential poets'.