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| Pietro Rotari Young Woman in a Red Dress ca. 1756-62 oil on canvas El Paso Museum of Art, Texas |
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| Pietro Rotari Sleeping Girl ca. 1750-55 oil on canvas Alte Pinakothek, Munich |
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| Pietro Rotari Portrait of a Young Woman 1756 oil on canvas Agnes Etherington Art Centre, Kingston, Ontario |
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| Pietro Rotari Woman wearing a Blue Scarf ca. 1760 oil on canvas Norton Simon Museum, Pasadena, California |
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| Wenceslaus Hollar after drawing by Leonardo da Vinci Study of Skull 1645 etching British Museum |
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| Wenceslaus Hollar after drawing by Leonardo da Vinci Study of Skull - Interior 1651 etching Metropolitan Museum of Art, New York |
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| Wenceslaus Hollar after drawing by Leonardo da Vinci Head of Youth ca. 1644-52 etching Metropolitan Museum of Art, New York |
-Herzog-Anton-Ulrich-Museum-Braunschweig.jpg) |
| Wenceslaus Hollar after drawing by Leonardo da Vinci Woman with Elaborate Coiffure 1648 etching Herzog Anton Ulrich Museum, Braunschweig |
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| Peter Paul Rubens Design for Pressmak of Jan van Meurs ca. 1618-20 oil on panel (print study in grisaille) Plantin-Moretus Museum, Antwerp |
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| Peter Paul Rubens Landscape Sketch with MIlkmaids after 1616 oil on canvas Liechtenstein Museum, Vienna |
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| Peter Paul Rubens Portrait Study of a Young Woman ca. 1620-22 drawing Museum Boijmans Van Beuningen, Rotterdam |
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| Peter Paul Rubens Victory of Henri IV at Coutras (vignette sketch within heroic frame) ca. 1628 oil on panel Liechtenstein Museum, Vienna |
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| Robert Motherwell Untitled 1966 lithograph Lowe Art Museum, University of Miami |
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| Robert Motherwell America/La France Variations II 1984 lithograph and collage Lowe Art Museum, University of Miami |
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| Robert Motherwell The Hollow Men 1983 acrylic paint and charcoal on canvas Art Gallery of Ontario, Toronto |
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| Robert Motherwell The Golden Bough 1986 acrylic paint and charcoal on canvas Art Gallery of Ontario, Toronto |
from Part Three of The Age of Anxiety
Malin says:
As we hoped we have come
Together again.
Rosetta says:
I am glad, I think.
It is fun to be four.
Quant says:
The flushed animations
Of crowds and couples look comic to friends.
They look about them with great curiosity. Then Malin says:
The scene has all the signs of a facetious culture,
Publishing houses, pawnshops and pay-toilets;
August and Graeco-Roman are the granite temples
Of the medicine men whose magic keeps this body
Politic free from fevers,
Cancer and constipation.
The rooms near the railroad station are rented mainly
By the criminally inclined; the Castle is open on Sundays;
There are parks for plump and playgrounds for pasty children;
The police must be large, but little men are hired to
Service the subterranean
Miles of dendritic drainage.
A married tribe commutes, mild from suburbia,
Whose ritual rules protect against raids by the nomad
Misfortunes they fear; for they flinch in their dreams at the scratch
Of course pecuniary claws, at crying images,
Petulant, thin, reproachful,
Destitute shades of dear ones.
Well, here I am but how, how, asks the visitor,
Strolling through the strange streets, can I start to discover
The fashionable feminine fret, or the form of insult
Minded most by the men? In what myth do their sages
Locate the cause of evil?
How are the people punished?
How, above all, will they end? By any natural
Fascination of frost or flood, or from the artful
Obliterating bang whereby God's rebellious image
After thousands of thankless years spent in thinking about it,
Finally finds a solid
Proof of its independence?
– W.H. Auden (1944-46)