Annand - White - Bakst - Whisson

Douglas Annand
The Fisk Radiola
1939
gouache, ink and collage on paper
(study for advertisement)
National Gallery of Australia, Canberra

Douglas Annand
David Jones' for Service
ca. 1930-40
lithograph
(matchbook promoting retailer)
National Gallery of Australia, Canberra

Douglas Annand
The Atlantic Union Oil Magazine
ca. 1934
lithograph
(magazine cover)
National Gallery of Australia, Canberra

Douglas Annand
The Home Annual
1936
gouache and ink on paper
(study for magazine cover)
National Gallery of Australia, Canberra

Robin White
Untitled
2000
watercolor on paper
National Gallery of Australia, Canberra

Robin White
Untitled
2000
watercolor on paper
National Gallery of Australia, Canberra

Robin White
Michael is sleeping on the bed
1983
color woodblock print
National Gallery of Australia, Canberra

Robin White
I am doing the washing in the bathroom
1983
color woodblock print
National Gallery of Australia, Canberra

Léon Bakst
Costume for the Bluebird
(Ballets-Russes)
ca. 1921
beaded and appliquéd silk
National Gallery of Australia, Canberra

Léon Bakst
Costume for Odalisque
(Ballets-Russes)
ca. 1915
silk and cotton
National Gallery of Australia, Canberra

Léon Bakst
Costume for Chiarina in Le Carnival
(Ballets-Russes)
ca. 1910
silk and cotton
National Gallery of Australia, Canberra

Léon Bakst
Costume for Pierrot in Le Carnival
(Ballets-Russes)
ca. 1910
silk and cotton
National Gallery of Australia, Canberra

Ken Whisson
Yellow Room
1962
oil on board
Heide Museum of Modern Art, Bulleen, Australia

Ken Whisson
Two Women in Motion
1962
oil on board
Heide Museum of Modern Art, Bulleen, Australia

Ken Whisson
Figures and Dark Sea
1963
oil on board
Art Gallery of South Australia, Adelaide

Ken Whisson
Figure in Landscape
ca. 1958
oil on board
Heide Museum of Modern Art, Bulleen, Australia

from The Quest

Others had found it prudent to withdraw
Before official pressure was applied,

Embittered robbers outlawed by the Law,
Lepers in terror of the terrified.

But no one else accused these of a crime;

They did not look ill; old friends, overcome,

Stared as they rolled away from talk and time
Like marbles out into the blank and dumb.

The crowd clung all the closer to convention,

Sunshine and horses, for the sane know why
The even numbers should ignore the odd:

The Nameless is what no free people mention;
Successful men know better than to try

To see the face of their Absconded God. 

– W.H. Auden (1940)