Saturday, June 29, 2024

Academic Figures

Anonymous French Artist
Académie
ca. 1775
drawing
Princeton University Art Museum

Anonymous Italian Artist 
Académie
17th century
drawing
Yale University Art Gallery

attributed to Jacques-Louis David
Académie
ca. 1780
drawing
Princeton University Art Museum

Giovanni Battista Piazzetta
Académie
ca. 1720
drawing
Cincinnati Art Museum, Ohio

Guillaume-Marie Borione
Académie
ca. 1850
drawing
Scottish National Gallery, Edinburgh

Matteo Rosselli
Académie
ca. 1610
drawing
Fondation Custodia, Paris

Gabriel Ferrier
Académie
1866
drawing
Getty Museum, Los Angeles

Andrea Sacchi
Académie
before 1661
drawing
National Gallery of Art, Washington DC

Louis Boullogne the Younger
Study for Endymion
ca. 1710
drawing
National Gallery of Canada, Ottawa

Baldassare Franceschini
Académie
ca. 1640
drawing
Statens Museum for Kunst, Copenhagen

Louis-Roland Trinquesse
Académie
ca. 1765
drawing
Princeton University Art Museum

Bernard Hall
Académie
1881
drawing
National Gallery of Victoria, Melbourne

Bernard Hall
Académie
ca. 1890
drawing
National Gallery of Victoria, Melbourne

Pietro Montana
Académie
ca. 1910
drawing
Cooper Hewitt, Smithsonian Design Museum

Carle Vanloo
Académie
before 1765
drawing
Scottish National Gallery, Edinburgh

Noël Hallé
Académie
ca. 1737-44
drawing
Scottish National Gallery, Edinburgh

from Return to Hinton

               Written on the author's return to Hinton Blewett from the United States

Ten years
        and will you be
                a footnote, merely,
England
        of the Bible
                open at Genesis
on the parlour table? 
        'God
                saw the light
that it was good.'
        It falls
                athwart the book
through the window-lace
        whose shadow
                decorates the sheets
of 'The Bridal March' –
        a square of white
                above the keyboard
and below
        a text which is a prayer.
                The television box
is one,
        the mullions and flagged floor
                of the kitchen
through the open door
        witness a second
                world in which
beside the hob
        the enormous kettles'
                blackened bellies ride –
as much the tokens of an order as
        the burnished brass.

         *              *             *

Death's
        not the enemy
                of you nor of your kind:
a surer death
        creeps after me
                out of that generous
rich and nervous land
        where, buried by
                the soft oppression of prosperity
locality's mere grist
        to build
                the even bed
of roads that will not rest
        until they lead
                into a common future
rational 
        and secure
                that we must speed
by means that are not either.
                    
– Charles Tomlinson (1963)