Seit alters her hat man die Kunst als Kunst der Nachahmung von der Natur bezeichnet, und die Fähigkeit des Künstlers daraufhin geschätzt, wie naturgetreu er die Gegenstände darstellen könnte. In solcher Entwicklung der westlichen Kunst kann man den ersten Gipfel des europäischen Realismus in der Erfindung der Perspektive in der Renaissance finden. Im 19. Jahrhundert ist die neue künstlerische Bewegung des Impressionismus aufgetreten, sozusagen das äußerste Ende des Realismus, das ausschließlich das rein Sichtbare auszudrücken versucht hat. Dort können wir den Wendepunkt des traditionellen Realismus und den neuen Ansatzpunkt zur Abstraktion der modernen Kunst zeigen. Trotzdem ist die Tradition des Realismus nicht ganz verloren, sondern wieder in der anderen erneuerten Kleidung erschienen. In diesem kleinen Referat möchte ich diese Modifikation des Realismus auf die Entfaltung von Duchamps Objet bis zum heutigen künstlerischen Yersuch der Post-Modernen erörtern.

　This paper discusses how Frank O’Hara (1926-66) achieved his stylistic innovation in his poetry through his profound knowledge of the paintings of the New York School. Though what actually happened was an interaction between literature and the visual arts, the discussion will mainly focus on the aesthetic significance of the paintings on the formation of O’Hara’s poetics and style.

　When O’Hara began getting his poems published in Michigan and New York in the early fifties, the New Criticism and academic verse were still exerting a strong influence on American poetry. O’Hara, an art critic as well as a poet, dissatisfied with the stylistic mannerisms of academic verse and blessed with great opportunities to familialize himself with the avant-garde paintings of his time, created his idiosyncratic style by applying the stylistic innovations of the New York School paintings to his poetry.

　Of O’Hara’ aesthetic responses to the New York School paintings, the most significant is their expressionist aspect, that is, how the artist’s self should be represented in his/her work, because that was the most urgent problem for O’Hara when he began writing poetry.

　This paper focuses on O’Hara’s expressionist aesthics, and is divided into three parts: its relation to his early art criticism , the second generation painters of the New York School, and early examples of Pop Art. In each part, the discussion will elucidate how O’Hara’s poetics and new style evolved from his aesthetic contact with the art of his day.