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| Pierre Parrocel Woman reading in front of Fireplace 1735 oil on canvas Nationalmuseum, Stockholm |
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| François Boucher The Milliner 1746 oil on canvas Nationalmuseum, Stockholm |
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| Jean-Baptiste-Siméon Chardin The Embroiderer before 1779 oil on canvas Nationalmuseum, Stockholm |
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| Jean-Baptiste-Siméon Chardin Domestic Pleasures before 1779 oil on canvas Nationalmuseum, Stockholm |
from Unreleased Movie
There is so much we know, too much, cruelly, to be expressed in any medium,
Including silence. And to harbor it means having it eventually leach under
The spiritual retaining wall that so commends itself to us we can never
Be other, and become a different habitat altogether in which these transactions
Are the brittle sounds of insect wings, robbed of the solid clink of something
Like the reality that now accosts one. It is all, we see too late, a question
Of having the knack, but the knack is as universal as the wind that now protects,
Now buffets, and is not ours. Thus, we are more formal this year, can escape
Certain confrontations, obtain the release of certain compromised acquaintances
Without looking at what they may have become, foil the plans of a few
Middle-echelon apparatchiks until the day that finally does come to rest, busily,
At your doorstep. Put it into a clean jar. Save it from the time which
Has been, without promoting it too far beyond the venetian blind of that
Future's early demise, in which we saw ourselves pre-figured dimly and what would
Happen to us scattered all over the ground like bruised rinds.
– John Ashbery, from April Galleons (Viking, 1987)
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| Nicolas Lancret Blind-Man's Buff before 1743 oil on canvas Nationalmuseum, Stockholm |
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| Nicolas Lancret The Swing before 1743 oil on canvas Nationalmuseum, Stockholm |
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| François-Marius Granet Audience with Cardinal Aldobrandini in the loggia of the Villa Belvedere in Frascati ca. 1822-23 oil on canvas Nationalmuseum, Stockholm |
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| Pierre-Nolasque Bergeret Pietro Aretino in the studio of Tintoretto 1822 oil on canvas Nationalmuseum, Stockholm |
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| Simon Vouet Queen Artemisia building the Mausoleum ca. 1640-45 oil on canvas Nationalmuseum, Stockholm |
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| Hubert Robert Orator in Prison ca. 1790-95 oil on canvas Nationalmuseum, Stockholm |
ARISTOGEITON – an Athenian orator and adversary of Demosthenes and Deinarchus. His father, Scydimus, died in prison, as he was a debtor of the state and unable to pay: his son, Aristogeiton, who inherited the debt, was likewise imprisoned for some time. He is called a demagogue and a sycophant, and his eloquence is described as of a coarse and vehement character. His impudence drew upon him the surname of "the dog." He was often accused by Demosthenes and others, and defended himself in a number of orations which are lost. Among the extant speeches of Demosthenes there are two against Aristogeiton, and among those of Deinarchus there is one. Suidas and Eudocia mention seven orations of Aristogeiton, and an eighth against Phryne is mentioned by Athinaeus. Aristogeiton died in prison.
– Dictionary of Greek and Roman Biography and Mythology, edited by William Smith (Boston: Little, Brown, 1867)
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| Philippe Jacques de Loutherbourg Battle at Sea between Soldiers and Oriental Pirates 1767 oil on canvas Nationalmuseum, Stockholm |
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| Philippe Jacques de Loutherbourg Shipwreck 1760-70- oil on canvas Nationalmuseum, Stockholm |
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| Hubert Robert The Fire at the Hôtel Dieu in Paris 1772 oil on canvas Nationalmuseum, Stockholm |
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| Auguste-Xavier Leprince Entrance to a Courtyard ca. 1820-30 oil on paper, mounted on canvas Nationalmuseum, Stockholm |