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| Georg Oddner Sailor Dancing, Kiev 1955 gelatin silver print Moderna Museet, Stockholm |
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| Thomas Ochsenbrunner Julius Caesar 1494 hand-colored woodcut and letterpress Graphische Sammlung Albertina, Vienna |
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| Louis Oppenheim Everclean - Travel Underwear for Gentlemen 1912- lithograph (poster) Graphische Sammlung Albertina, Vienna |
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| Moritz Daniel Oppenheim Holy Roman Emperor Joseph II (posthumous portrait) 1840 oil on canvas Historisches Museum, Frankfurt |
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| Johann Friedrich Overbeck Study of Italian Model in Rome 1810 drawing Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden |
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| Lelio Orsi Fable of the Singing Shell ca. 1563-64 drawing (print study) Graphische Sammlung Albertina, Vienna |
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| Adam Friedrich Oeser Sculpture Studio with Putti ca. 1760 drawing Graphische Sammlung Albertina, Vienna |
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| Hans Jakob Oeri Portrait of Henriette Ernst Cramer 1823 lithograph Graphische Sammlung, Zentralbibliothek Zürich |
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| Wijbrant Oosterdijk Study of Standing Youth ca. 1670 drawing Rijksmuseum, Amsterdam |
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| Georg Oehme Self Portrait 1910 oil on panel Galerie Neue Meister (Albertinum), Dresden |
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| Jacob Ochtervelt Street Musicians at the Door 1665 oil on canvas Saint Louis Art Museum |
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| Bernard van Orley The Crucifixion with the Virgin and St John the Evangelist ca. 1525 oil on panel Museum Boijmans Van Beuningen, Rotterdam |
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| Tranquillo Orsi Courtyard of the Doge's Palace, Venice ca. 1810 oil on canvas Belvedere Museum, Vienna |
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| John Opie Portrait of Peter Pindar 1780 oil on canvas Auckland Art Gallery, New Zealand |
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| Emil Orlik Secession Ball, Prague 1899 lithograph (poster) Graphische Sammlung Albertina, Vienna |
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| John O'Reilly Black Vase 2016 collage of printed paper with added drawing and pigments Worcester Art Museum, Massachusetts |
How long shall I bear with thee, thus laughing only and never uttering a word? Tell me this plainly, Pasiphilus. I entreat and thou laughest; I entreat again and no answer; I weep and thou laughest. Cruel boy, is this a laughing matter?
So soon now thou rushest to the wars, still an ignorant boy and delicate. What art thou doing? Ho! look to it, change thy resolve. Alas! who persuaded thee to grasp the spear! Who bad thee take the shield in thy hand or hide that head in a helmet? Most blessed he, whoe'er he be, who, some new Achilles, shall take his pleasure in the tent with such a Patroclus!
Thou art not in fetters for stealing the fire, ill-advised Prometheus, but because thou didst spoil the clay of Zeus. In moulding men thou didst add hairs, and hence comes the horrible beard, and hence boys' legs grow rough. For this thou art devoured by Zeus' eagle, which carried off Ganymede; for the beard is a torment to Zeus, too.
Hie thee to holy Heaven, eagle; away, bearing the boy, thy twin wings outspread. Go, holding tender Ganymede, and let him not drop, the ministrant of Zeus' sweetest cups. And take heed not to make the boy bleed with the crooked claws of thy feet, lest Zeus, sore aggrieved thereby, suffer pain.
We walk together in a good path, Diphilus, and take thou thought how it shall continue to be even as it was from the beginning. To the lot of each has fallen a winged thing; for in thee is beauty and in me love; but both are fugitive. Now they remain in unison for a season, but if they do not guard one another they take wing and are gone.
– from Book XII (Strato's Musa Puerilis) in the Greek Anthology, translated and edited by W.R. Paton (1917)


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