 |
| Will Barnet Self Portrait 1952-53 oil on canvas Amon Carter Museum, Fort Worth, Texas |
-Dresden.jpg) |
| Martin Borowski Untitled 2002 oil on canvas Galerie Neue Meister (Albertinum), Dresden |
 |
| Hans Christiansen Festival in Red 1901 lithograph Graphische Sammlung Albertina, Vienna |
 |
| Marilyn Dintenfass Coronet III 2011 ultra-violet etching Amon Carter Museum, Fort Worth, Texas |
-1915-23-&-1961-assemblage-(replica-signed-by-Duchamp-executed-by-Ulf-Linde-1961)-Moderna-Museet-Stockholm.jpeg) |
| Marcel Duchamp The Bride Stripped Bare by her Bachelors Even (Le Grand Verre) 1915-23 assemblage (replica, signed by Duchamp, executed by Ulf Linde in 1961) Moderna Museet, Stockholm |
-Graphische-Sammlung-Albertina-Vienna.jpg) |
| Albrecht Dürer Adam and Eve 1504 engraving (unique impression of trial print) Graphische Sammlung Albertina, Vienna |
 |
| Thomas Eakins Sketch for Swimming ca. 1884 oil on cardboard Amon Carter Museum, Fort Worth, Texas |
 |
| Sam Francis Blue Violet 1963 lithograph Amon Carter Museum, Fort Worth, Texas |
-Oslo.jpg) |
| Trudi Jaeger Untitled 1986 gesso and oil paint on canvas KORO (Public Art Norway), Oslo |
 |
| Henry Moore Two Interlocking Figures ca. 1969-70 etching Statens Museum for Kunst, Copenhagen |
 |
| Johs Rian Clair de lune 1974 oil on canvas Nasjonalmuseet, Oslo |
 |
| Gerhard Richter Billiards 1985 oil on canvas Kunsthalle zu Kiel |
 |
| Auguste Rodin Woman standing in Water ca. 1898-1902 watercolor on paper Statens Museum for Kunst, Copenhagen |
 |
| Morton Schamberg Composition 1916- drawing (colored chalks) Amon Carter Museum, Fort Worth, Texas |
 |
| Helen Torr Through the Door ca. 1928 drawing Amon Carter Museum, Fort Worth, Texas |
 |
| Hann Trier Archimedes disturbing his own Circles 1989 tempera with sand on canvas Von der Heydt Museum, Wuppertal |
Danaus: I praise you, dear daughters for these wise prayers. Now do not be afraid when you hear from your father this unexpected and untoward news. From this lookout post, which received you as suppliants, I can see the boat. It is unmistakable. I cannot fail to observe the ship's sailing gear, its side-screens, and the prow which scans the way ahead with eyes, obeying all too well the guiding helm at the very stern of the ship, as if unfriendly to us; and the men on board the ship are conspicuously visible, their black limbs set against white garments. Now the other ships and all the assisting forces are plain to see, and the leading vessel herself is close inshore, has furled her sail and is rowing in with all care. Now you must look at this matter in a calm and disciplined way, and not forget these gods. I will come back with helpers and defenders, since perhaps some herald or embassy may come here, wanting to seize their booty and take you away. Nothing will come of that – don't be afraid of them; but all the same it's best, in case we should be slow in calling for help, at all costs never to forget your protection here.* Have courage; sooner or later, you know, on the destined day, any mortal who shows contempt for the gods will pay the penalty.
Chorus: Father, I'm afraid, because the swift-winged ships have come, and there is hardly any time remaining.
Terrified fear grips me: has my fleeing
so great a distance really done me any good?
Father, I am beside myself with fright!
Danaus: Take courage, children; remember, the vote of the Argives was decisive. They will fight for you, I know if for sure.
Chorus: The crazed family of Aegyptus are abominable, their appetite for battle insatiable. And I am speaking to one who knows that.
With timber-built, black-eyed ships
they have sailed here in wrathful haste,
with a great black army!
– Aeschylus, from Suppliants (ca. 470-460 BC), translated by Alan H. Sommerstein (2008)
*i.e. the sanctuary offered by the shrine