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| Émile Bernard Breton Women attending a Pardon 1892 oil on board Dallas Museum of Art |
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| Émile Bernard Portrait of a Woman in Black ca. 1925 oil on board Van Gogh Museum, Amsterdam |
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| Émile Bernard Brittany Landscape ca. 1888-89 oil on canvas Norton Simon Museum, Pasadena |
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| Émile Bernard Woman walking on the Banks of the Aven 1890 oil on canvas Museum of Fine Arts, Houston |
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| Giuseppe Bernardino Bison Lot and his Daughters ca. 1795 drawing Liechtenstein Museum, Vienna |
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| Giuseppe Bernardino Bison Satyr seated on a Rock ca. 1790-1800 drawing Clark Art Institute, Williamstown, Massachusetts |
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| Giuseppe Bernardino Bison Prometheus ca. 1810 drawing Graphische Sammlung Albertina, Vienna |
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| Giuseppe Bernardino Bison Tomb Robbers at Work ca. 1800 drawing Graphische Sammlung Albertina, Vienna |
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| Henri Matisse The Dance 1931-32 gouache on paper (study for mural) Barnes Foundation, Philadelphia |
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| Henri Matisse Madame de Pompadour 1951 lithograph Los Angeles County Museum of Art |
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| Henri Matisse Matisse Exhibition at Maison de la Pensée Française, Paris 1950 lithograph Delaware Art Museum, Wilmington |
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| Henri Matisse Seated Nude 1906 oil on board Barnes Foundation, Philadelphia |
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| Peter Paul Rubens Joan of Arc ca. 1620 oil on canvas North Carolina Museum of Art, Raleigh |
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| Peter Paul Rubens Study Head - Bearded Man ca. 1612 oil on panel Liechtenstein Museum, Vienna |
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| Peter Paul Rubens Portrait of a Man ca. 1598-99 oil on canvas Chrysler Museum of Art, Norfolk, Virginia |
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| Peter Paul Rubens Study for The Death of Seneca ca. 1612 oil on panel Plantin-Moretus Museum, Antwerp |
from Part Three of The Age of Anxiety
Emble says:
Dull through the darkness, indifferent tongues
From bombed buildings, from blacked-out towns,
Camps and cockpits, from cold trenches,
Submarines and cells, recite in unison
A common creed, declaring their weak
Faith in confusion. The floods are rising;
Rain ruins on the routed fragments
Of all armies; indistinct
Are friend and foe, one flux of bodies
Miles from another, marriage, or any
Workable world.
Quant says:
The wall is fallen
That Balbus built, and back they come
The Dark Ones to dwell in the statues,
Manias in marble, messengers from
The Nothing who nothings. Night descends,
Through thickening darkness thin uneases,
Ravenous unreals, perambulate
Our paths and pickles.
Malin says:
The primary colors
Are all mixed up, the whole numbers
Have broken down, the big situations
Ceased to excite.
Rosetta says:
Sick of time,
Long Ada and her Eleven Daughters,
The standing stones, stagger, disrupt
Their petrified polka on Pillicock Mound;
The chefs and shepherds have shot themselves,
The dowagers dropped in their Dutch gardens,
The battle-axe and the bosomed war-horse
Swept grand to their graves. Graven on all things,
Inscribed on skies, escarpments, trees,
Notepaper, neckties, napkin rings,
Brickwalls and barns, or branded into
The livid limbs of lambs and men,
Is the same symbol, the signature
Of reluctant allegiance to a lost cause.
The livid limbs of lambs and men,
Is the same symbol, the signature
Of reluctant allegiance to a lost cause.
– W.H. Auden (1944-46)