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| Robert Doisneau André Derain 1954 gelatin silver print Portland Museum of Art, Maine |
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| Dirk de Herder Interior, Amsterdam 1954 gelatin silver print Kunstmuseum, The Hague |
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| Fernand Léger Trapeze Artists 1954 oil on canvas National Gallery of Australia, Canberra |
-Feignting-Spell-1954-oil-on-canvas-Crocker-Art-Museum-Sacramento-California.jpg) |
| Jess (Jess Collins) Feignting Spell 1954 oil on canvas Crocker Art Museum, Sacramento, California |
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| William Klein Christmas Shoppers near Macy's, New York 1954 gelatin silver print National Gallery of Australia, Canberra |
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| Ernie McFarlane The Blacksmith 1954 linocut National Gallery of Australia, Canberra |
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| Jacob Epstein Study for a Sculpture 1954 watercolor on paper Queensland Art Gallery, Brisbane |
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| Georges Braque Feuilles, Couleur, Lumière 1954 lithograph National Gallery of Australia, Canberra |
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| Lucian Freud Hotel Bedroom 1954 oil on canvas Beaverbrook Art Gallery, Fredericton, New Brunswick |
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| Lola Wheeler Still Life with Fruit 1954 oil on canvas Wichita Art Museum, Kansas |
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| Hubert de Givenchy Cocktail Dress 1954 silk moiré taffeta National Gallery of Victoria, Melbourne |
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| John Szarkowski The Chicago Auditorium 1954 gelatin silver print Art Institute of Chicago |
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| Ray Mead Dark Image 1954 oil on canvas Museum London, Ontario |
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| William Brice Kelp, Rocks and Sea 1954 oil paint and sand on board Norton Simon Museum, Pasadena, California |
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| Loudon Sainthill Design for Side Pieces of Stage Set 1954 watercolor and gouache on paper National Gallery of Australia, Canberra |
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| David Potts Henley Regatta 1954 gelatin silver print Art Gallery of New South Wales, Sydney |
from The Quest
He parried every question that they hurled:
"What did the Emperor tell you?" "Not to push."
"What is the greatest wonder of the world?"
"The bare man Nothing in the Beggar's Bush."
"What did the Emperor tell you?" "Not to push."
"What is the greatest wonder of the world?"
"The bare man Nothing in the Beggar's Bush."
Some murmured: "He is cagey for effect.
A hero owes a duty to his fame.
He looks too like a grocer for respect."
A hero owes a duty to his fame.
He looks too like a grocer for respect."
Soon they slipped back into his Christian name.
The only difference that could be seen
From those who'd never risked their lives at all
Was his delight in details and routine:
For he was always glad to mow the grass,
Pour liquids from large bottles into small,
Or look at clouds through bits of coloured glass.
The only difference that could be seen
From those who'd never risked their lives at all
Was his delight in details and routine:
For he was always glad to mow the grass,
Pour liquids from large bottles into small,
Or look at clouds through bits of coloured glass.
– W.H. Auden (1940)