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| Dan Lutz New World 1945 oil on canvas Orange County Museum of Art, Costa Mesa, California |
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| Henri Cartier-Bresson Untitled 1948 gelatin silver print San Diego Museum of Art |
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| Beaumont Newhall Henri Cartier-Bresson, New York 1946 gelatin silver print National Gallery of Australia, Canberra |
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| Archibald Douglas Colquhoun Amalie Sara Colquhoun in the Studio 1948 oil on canvas Art Gallery of New South Wales, Sydney |
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| Paul Delvaux Les Phases de la Lune III 1942 oil on canvas Museum Boijmans Van Beuningen, Rotterdam |
-Bretagne-(future-wife-of-the-photographer)-1948-gelatin-silver-print-Akron-Art-Museum-Ohio.jpg) |
| Édouard Boubat Lella, Bretagne 1948 gelatin silver print Akron Art Museum, Ohio |
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| Arthur Dove Arrangement in Form II 1944 oil on canvas Phoenix Art Museum, Arizona |
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| Max Beckmann Portrait of the Lütjens Family 1944 oil on canvas Museum Boijmans Van Beuningen, Rotterdam |
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| Herbert Cressey Untitled before 1944 oil on canvas Crocker Art Museum, Sacramento, California |
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| Athol Shmith Portrait of Sally Gilmour in ballet production of Giselle 1948 gelatin silver print Art Gallery of New South Wales, Sydney |
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| Joan Miró Moonbird 1944-46 bronze Nasher Sculpture Center, Dallas |
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| Gjon Mili Picasso drawing with Light 1949 gelatin silver print National Gallery of Australia, Canberra |
-Museum-Boijmans-Van-Beuningen-Rotterdam.jpg) |
| René Magritte Les Chants de Maldoror 1948 lithograph and letterpress (cover of book by the Comte de Lautréamont) Museum Boijmans Van Beuningen, Rotterdam |
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| Alma Duncan Self Portrait 1943 oil on panel Ottawa Art Gallery, Ontario |
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| Erle Loran San Francisco Burning II 1944 gouache on paper San Jose Museum of Art, California |
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| Jack Shadbolt Portrait of Jack Ritchel 1941 drawing Art Gallery of Greater Victoria, British Columbia |
from Hyacinth
1.
Is that an attitude for a flower, to stand
like a club at the walk; poor slain boy,
is that a way to show
gratitude to the gods? White
with coloured hearts, the tall flowers
sway around you, all the other boys,
in the cold spring, as the violets open.
2.
There were no flowers in antiquity
but boys' bodies, pale, perfectly imagined.
So the gods sank to human shape with longing.
In the field, in the willow grove,
Apollo sent the courtiers away.
3.
And from the blood of the wound
a flower sprang, lilylike, more brilliant
than the purples of Tyre.
Then the god wept: his vital grief
flooded the earth.
4.
Beauty dies: that is the source
of creation. Outside the ring of trees
the courtiers could hear
the dove's call transmit
its uniform, its inborn sorrow –
They stood listening, among the rustling willows.
Was this the god's lament?
They listened carefully. And for a short time
all sound was sad.
– Louise Glück (1985)