Abstract
The American artist Joseph Cornell (1903–1972) is famous for his allusive box constructions. This paper examines the history of Planet Set 1950, a work in Tate's collection that has received little critical commentary. In particular, it explores Cornell's fascination with the early nineteenth-century opera singer Giuditta Pasta, and shows how this relates to a number of other themes in his work, including stars, maps and birds.
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