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| Agnes Pelton Messengers 1932 oil on canvas Phoenix Art Museum, Arizona |
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| Christian Waller Lords of the Flame 1932 linocut National Gallery of Australia, Canberra |
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| Paul Kelpe Composition #308 1932 oil on canvas Los Angeles County Museum of Art |
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| James Cant Fig Trees 1932 oil on canvas National Gallery of Australia, Canberra |
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| Paul Citroen Wim Oepts at the Easel 1932 gelatin silver print Kunstmuseum, The Hague |
-Elizabeth-1932-oil-on-canvas-National-Gallery-of-Canada-Ottawa.jpg) |
| James Kerr-Lawson Elizabeth 1932 oil on canvas National Gallery of Canada, Ottawa |
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| Robert Brackman Portrait of Mrs Robert Wheelwright 1932 oil on canvas Delaware Art Museum, Wilmington |
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| Robert Brackman Portrait of Renee du Pont Meeds 1932 oil on canvas Delaware Art Museum, Wilmington |
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| Peggy Bacon Aesthetic Pleasure 1932 lithograph San Jose Museum of Art, California |
-1932-oil-on-canvas-Los-Angeles-County-Museum-of-Art.jpg) |
| John Graham Untitled (Still Life) 1932 oil on canvas Los Angeles County Museum of Art |
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| Raymond Jonson City Dynamism 1932 oil on canvas Phoenix Art Museum, Arizona |
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| Max Beckmann Self Portrait 1932 watercolor on paper North Carolina Museum of Art, Raleigh |
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| Milton Avery Mandolin Player 1932 gouache on paper Phoenix Art Museum, Arizona |
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| William Dobell The Boy at the Basin 1932 oil on panel Art Gallery of New South Wales, Sydney |
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| Alison Rehfisch Park Bench 1932 linocut National Gallery of Australia, Canberra |
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| Paul Stahr Illustration for Argosy Magazine 1932 oil on canvas New Britain Museum of American Art, Connecticut |
Shorts
Motionless, deep in his mind, lies the past the poet's forgotten,
Till some small experience wake it to life and a poem's begotten,
Words its presumptive primordia, Feeling its field of induction,
Meaning its pattern of growth determined during construction.
*
His ageing nature is the same
As when childhood wore its name
In an atmosphere of love,
And to itself appeared enough:
Only now, when he has come
In walking distance of his tomb,
He at last discovers who
He had always been to whom
He so often was untrue.
He at last discovers who
He had always been to whom
He so often was untrue.
*
Do we want to return to the womb? Not at all.
No one really desires the impossible:
That is only the image out of a our past
We practical people use when we cast
Our eyes on the future, to whom freedom is
The absence of all dualities.
Since there never can be much of that for us
In the universe of Copernicus,
Any heaven we think it decent to enter
Must be Ptolemaic with ourselves at the centre.
In the universe of Copernicus,
Any heaven we think it decent to enter
Must be Ptolemaic with ourselves at the centre.
– W.H. Auden (1940)