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| Odilon Redon Flowers ca. 1880 oil on canvas Musée des Beaux-Arts de Lyon |
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| Odilon Redon Roses in a Vase on a Table ca. 1900 oil on canvas Van Gogh Museum, Amsterdam |
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| Odilon Redon Pegasus 1916 drawing Musée des Beaux-Arts de Bordeaux |
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| Odilon Redon Orpheus in Despair ca. 1885-90 drawing Städel Museum, Frankfurt |
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| Jean-Auguste-Dominique Ingres Study for a Portrait of Baroness Betty de Rothschild ca. 1848 drawing Musée Bonnat-Helleu, Bayonne |
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| Jean-Auguste-Dominique Ingres Study for a Portrait of Comtesse Louise d'Haussonville ca. 1843-45 drawing Cabinet d'Arts Graphiques des Musées d'Art et d'Histoire, Genève |
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| Jean-Auguste-Dominique Ingres Portrait of Marcotte d'Argenteuil 1810 oil on canvas National Gallery of Art, Washington DC |
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| Jean-Auguste-Dominique Ingres Portrait of Baron Joseph-Pierre Vialetès de Mortarieu ca. 1805-1806 oil on canvas Norton Simon Museum, Pasadena, California |
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| Ignaz Günther Angel and Putto supporting Canopy ca. 1755-60 painted and gilt lindenwood Bayerisches Nationalmuseum, Munich |
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| Ignaz Günther Apotheosis of St Teresa of Avila 1771 painted lindenwood Bayerisches Nationalmuseum, Munich |
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| Ignaz Günther Reduced Copy of the Borghese Gladiator 1753 lindenwood Bayerisches Nationalmuseum, Munich |
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| Ignaz Günther St Anne ca. 1765-70 partly painted lindenwood Bayerisches Nationalmuseum, Munich |
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| Sebastiano Ricci Banishment of Hagar and Ishmael before 1734 drawing Graphische Sammlung Albertina, Vienna |
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| Sebastiano Ricci Investiture in 1344 of Marco Corner as Count of Zara ca. 1700 oil on canvas Newport Mansions Preservation Society, Rhode Island |
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| Sebastiano Ricci Jephthah and his Daughter ca. 1710 oil on canvas Memphis Brooks Museum of Art, Tennessee |
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| Sebastiano Ricci Abduction of the Sabine Women ca. 1700 oil on canvas Liechtenstein Museum, Vienna |
from The Sea and the Mirror
(a commentary on Shakespeare's The Tempest)
Prospero to Ariel:
Stay with me, Ariel, while I pack, and with your first free act
Delight my leaving; share my resigning thoughts
As you have served my revelling wishes: then, brave spirit,
Ages to you of song and daring, and to me
Briefly Milan, then earth. In all, things have turned out better
Than I once expected or ever deserved;
I am glad that I did not recover my dukedom till
I do not want it; I am glad that Miranda
No longer pays me any attention; I am glad I have freed you,
So at last I can really believe I shall die,
For under your influence death is inconceivable:
On walks through winter woods, a bird's dry carcass
Agitates the retina with novel images,
A stranger's quiet collapse in a noisy street
Is the beginning of much lively speculation,
And every time some dear flesh disappears
What is real is the arriving grief; thanks to your service,
The lonely and unhappy are very much alive.
– W.H. Auden (1942-44)