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| Brunswick Monogrammist Brothel Scene ca. 1540-50 oil on panel Städel Museum, Frankfurt |
-c1668-oil-on-canvas-Cleveland-Museum-of-Art-Ohio.jpg) |
| Jacob Ochtervelt Musical Company in a Brothel ca. 1668 oil on canvas Cleveland Museum of Art, Ohio |
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| Étienne de Lavallée Figures in Opera Boxes ca. 1760 drawing National Gallery of Canada, Ottawa |
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| Noel Counihan At the Moscow Ballet, Warsaw 1949 drawing, with gouache National Gallery of Victoria, Melbourne |
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| Mariano Fortuny The Choice of a Model 1874 oil on panel National Gallery of Art, Washington DC |
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| Charles-Joseph Natoire Life Class at the Royal Academy 1746 drawing, with watercolor Courtauld Gallery, London |
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| Jacques Gamelin Life Class 1779 engraving and letterpress (cutting from a title page) Wellcome Collection, London |
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| William Roberts The Model ca. 1956 watercolor on paper Art Gallery of South Australia, Adelaide |
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| W. Eugene Smith Carnegie Tech Art Students with Model ca. 1955-57 gelatin silver print Carnegie Museum of Art, Pittsburgh |
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| Jacques Lavallée after Jacques Gamelin Ancients studying Anatomy 1779 etching Wellcome Collection, London |
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| Henri Gervex Study for Autopsy at the Hôtel Dieu 1876 oil on canvas National Gallery of Art, Washington DC |
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| James Ensor Skeletons Warming Themselves 1889 oil on canvas Kimbell Art Museum, Fort Worth, Texas |
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| John Swope Giacometti Tall Figure IV Norton Simon Museum 1976 gelatin silver print Norton Simon Museum, Pasadena |
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| Anonymous British Artist Interior of the National Gallery of Scotland (on a day reserved for copyists and closed to the public) ca. 1868-72 oil on canvas Scottish National Gallery, Edinburgh |
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| Thomas Struth Louvre I 1989 C-print Museum Boijmans Van Beuningen, Rotterdam |
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| Melozzo da Forlì Sixtus IV della Rovere appoints Bartolomeo Platina as Prefect of the Vatican Library ca. 1477 detached fresco Pinacoteca Vaticana, Rome |
from Letters from Amherst
Letters from Amherst came. They were written
In so peculiar a hand, it seemed
In so peculiar a hand, it seemed
The writer might have learned the script by studying
The famous fossil bird-tracks
In the museum of that college town. Of punctuation
There was little, except for dashes: 'My companion
The famous fossil bird-tracks
In the museum of that college town. Of punctuation
There was little, except for dashes: 'My companion
Is a dog,' they said. 'They are better
Than beings, because they know but do not tell.'
And in the same, bird-like script: 'You think
My gait "spasmodic". I am in danger, sir.
You think me uncontrolled. I have no tribunal.'
Of people: 'They talk of hallowed things aloud
And embarrass my dog. I let them hear
A noiseless noise in the orchard. I work
In my prison where I make
Guests for myself.' The first of these
Letters was unsigned, but sheltered
Within the larger package was a second,
A smaller, containing what the letter lacked –
A signature, written upon a a card in pencil . . .
And embarrass my dog. I let them hear
A noiseless noise in the orchard. I work
In my prison where I make
Guests for myself.' The first of these
Letters was unsigned, but sheltered
Within the larger package was a second,
A smaller, containing what the letter lacked –
A signature, written upon a a card in pencil . . .
– Charles Tomlinson (1966)