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| Bror Utter Presence 1947 watercolor and gouache on paper Amon Carter Museum, Fort Worth, Texas |
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| Henri de Toulouse-Lautrec Woman curling her Hair 1891 oil on cardboard Musée des Augustins de Toulouse |
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| George Romney Figure Study ca. 1770 drawing National Gallery of Victoria, Melbourne |
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| Roman Empire Torso - Male Figure wearing Chlamys 1st century BC - 1st century AD marble Musée d'Art Classique de Mougins |
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| Alfred Rethel Faux-Medieval Marginal Ornaments ca. 1840-50 drawing (colored ink on leaf of printed incunabulum) Museum für Angewandte Kunst, Vienna |
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| Jacques Lipchitz Study for a Statue 1919 drawing Albright-Knox Art Gallery, Buffalo, New York |
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| Ida Kerkovius On Dark Blue 1961 pastel on paper Städtisches Museum, Braunschweig |
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| Hannah Höch Creatures ca. 1926-29 oil on canvas Germanisches Nationalmuseum, Nuremberg |
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| Barbara Hepworth Three Figures 1952 oil paint and graphite on panel Kröller-Müller Museum, Otterlo, Netherlands |
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| Jean Hélion Standing Figure 1935 oil on canvas Albright-Knox Art Gallery, Buffalo, New York |
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| Ancient Greek Culture Female Figure 125-100 BC marble (excavated at Pergamon) Antikensammlung, Staatliche Museen zu Berlin |
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| Max Ernst Dada Gauguin 1920 gouache on paper Art Institute of Chicago |
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| José Luis Cuevas Procuress with Meat 1966 lithograph Amon Carter Museum, Fort Worth, Texas |
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| Heinrich Campendonk Two Nudes 1913 gouache and watercolor on paper Clemens-Sels Museum, Neuss, Germany |
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| Brassaï Shoe-Leather Drying 1933 gelatin silver print Museum Folkwang, Essen |
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| Anonymous Photographer Harry Blanchard ca. 1900 albumen silver print (cabinet card) Amon Carter Museum, Fort Worth, Texas |
Danaus: You can't send out a naval expedition quickly, and you can't bring one in quickly either. Nor is it a speedy job running stern cables ashore to keep the ship safe, and their custodians don't immediately feel secure when they've dropped anchor, especially when they've come to a harborless coast as the sun is departing and night approaching – night tends to breed travail in the mind of an expert helmsman. So even to land an army would not be a good idea until the fleet was secure in its anchorage. But as you're afraid, be sure not to forget the gods; I will come back form town as soon as possible, having secured assistance. The city will find no fault in a messenger who is old in years, but young in his eloquent intellect.
[Danaus departs for the city]
Chorus of the daughters of Danaus:
O hilly land that we rightly revere,
what is going to happen to us? Where in the land of Apia
can we flee in the hope that there is somewhere a dark hiding-place?
O to become black smoke
up among the clouds of Zeus,
to fly up without wings, invisible, imperceptible,
like dust, and end my existence altogether!
The evil will no longer be escapable;
my heart within is shaken, its flesh turned black.*
My father's lookout has trapped me – I am perishing with terror!
I would wish to meet my fate
in a plaited noose
before an abominable man could touch this flesh!
Before that, may I die and Hades become my lord!
Where can I find a seat in the sky,
near where the moist clouds turn into snow,
or a slippery crag, where no goat climbs,
lonely, overhanging, impossible to point out,
the haunt of vultures, which could testify
to my long fall,
before, against the determination of my heart,
I meet a killer marriage?
Thereafter, I do not refuse to become
prey for the dogs, a dinner for the native birds:
for he who dies is freed
from evils that cry to be bewailed.
Let death come and get me
before the marriage-bed does!
What path of escape can I yet cleave
that will release me from wedlock?
– Aeschylus, from Suppliants (ca. 470-460 BC), translated by Alan H. Sommerstein (2008)
*the heart and other internal organs could be spoken of as turning black when affected by powerful emotions because blood flowed inwards from the surface regions, which went pale




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