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Hubbard argues that, like many of her contemporaries, Moore sought out “primitive” and exotic aesthetic models with which to challenge western artistic conventions, among these Middle Eastern artifacts whose presence was growing in private and public collections. In particular, references to Persian decorative objects and paintings abound in Moore’s poems from the mid-teens through the 1950s, although few critics have taken note of these elements. Hubbard’s essay argues that Persian cultural influences helped Moore to develop a modernist aesthetics of the “arabesque” that embodied her contradictory attraction to both precision and detail, reduction and elaboration, and offered her ways of valuing pleasure unavailable within Judeo-Christian traditions. |
