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| Edward Wolfe Still Life with Omega Cat 1918 oil on canvas Charleston House, Lewes, Sussex |
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| Morris Meredith Williams L'Été mourant ca. 1913 oil on canvas Walker Art Gallery, Liverpool |
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| Edgar Herbert Thomas Sweet Peas in a Blue Glass Vase 1919 oil on cardboard Scolton Manor, Pembrokeshire, Wales |
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| Matthew Smith Fruit in a Dish ca. 1914-19 oil on canvas Guildhall Art Gallery, London |
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| Walter Sickert The New Bedford ca. 1915 oil on canvas Mercer Art Gallery, Harrogate, Yorkshire |
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| William Nicholson Still Life with Marigolds 1919 oil on canvas Hunterian Art Gallery, University of Glasgow |
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| Christopher Nevinson A Howitzer Gun in Elevation 1917 oil on canvas Imperial War Museum, London |
ABC
Identification is a highly important factor in the mechanism of hysterical symptoms; by this means patients are enabled in their symptoms to represent not merely their own experiences, but the experiences of a great number of other persons, and can suffer, as it were, for a whole mass of people, and fill all the parts of a drama by means of their own personalities alone.
– Sigmund Freud
Anne identified with Cate until it became a bona fide
illness, for Boris had left Cate, resulting not only
in psychic estrangement but an unconscious stream
of hostility directed not at Boris, but at his new woman,
Anne, whom Cate viewed as her rival. Cate remained
excessively tender with Boris, though Cate, for him,
had been a "totem animal" from which he gained power
by "eating." Whereas Boris was the patriarch
Anne was the ego alien; and whereas Cate was Anne's
fixation, Anne was no one's obsession, so she was
admitted to a psychiatric ward with the unbidden
associations she could not be induced to abandon.
On the rare occasions she slept, the manifest and latent
content of her dreams was the dance of abandonment
between Boris and Cate, which Anne, in her waking hours,
projected onto the walls, as though screening a silent film.
She could not be induced to abandon this footage;
she could not be induced to abandon her object love
of Boris (whose own object choice was his
ego-libido); or her identification with Cate, who felt
no friendship towards Anne. Soon Anne drew a mental
triangle on every surface she saw, be it phallic or
concave, and sometimes this triangle was isosceles,
sometimes it was equilateral, and often it was right.
– Kathryn Maris (2016)
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| Leslie Hunter Still Life ca. 1918 oil on canvas Dundee Art Galleries and Museums, Scotland |
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| Spencer Gore Interior before 1914 oil on canvas Kirkcaldy Galleries, Fife, Scotland |
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| Harold Gilman Eating House ca. 1914 oil on canvas Museums Sheffield, Yorkshire |
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| Byron Dawson Still Life 1919 oil on canvas Shipley Art Gallery, Gateshead |
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| Frank Brangwyn The Drinkers 1912 oil on canvas Ulster Museum, Belfast |
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| David Bomberg At the Window 1919 oil on canvas Ben Uri Gallery and Museum, London |
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| Robert Bevan Horse Dealers (Sale at Ward's Repository No. 1) 1918 oil on canvas Manchester Art Gallery |
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| Vanessa Bell Design for Overmantel 1912-13 oil on paper Yale Center for British Art |