Paradigms (Western)

Alexandre Charpentier
Program for Ibsen's Master Builder
at Théâtre de L'Oeuvre, Paris
1898
lithograph and letterpress
National Gallery of Australia, Canberra

Marie Bermond
Portrait of a Woman
ca. 1900
oil on canvas
Musée des Beaux-Arts de Gaillac

Charles-Paul Landon 
Woman with Laurel Wreath
(after the manner of Titian)
ca. 1900
oil on canvas
Musée Magnin, Dijon

Gertrude Käsebier
Rose O'Neil
ca. 1900
platinum print
National Museum of American History,
Washington DC

Frederick Sandys
Proud Maisie
1902
drawing
National Gallery of Canada, Ottawa

Paul Cézanne
Seated Woman in Blue
ca. 1902-1906
oil on canvas
Phillips Collection, Washington DC

John Singer Sargent
Marchesa Laura Spinola Núñez del Castillo
1903
oil on canvas
Reynolda House Museum of American Art,
Winston-Salem, North Carolina

Thomas Eakins
Mrs Anna Kershaw
ca. 1903
platinum print
Hirshhorn Museum, Washington DC

Rudolf Eickemeyer
Gertrude Vanderbilt Whitney
1903
platinum print
National Museum of American History, Washington DC

Otto Gussmann
Portrait of Gertrud Herzog
1903-04
oil on panel
Galerie Neue Meister (Albertinum), Dresden

Joseph Decamp
The Listener (Woman at the Theatre)
ca. 1904
oil on canvas
Farnsworth Art Museum, Rockland, Maine

Pach Brothers Studio (New York)
Miss Alice Roosevelt
1904
gelatin silver print (postcard)
National Portrait Gallery, Washington DC

Edward Hopper
Portrait of Hettie Duryea Meade
ca. 1905
oil on canvas
Hirshhorn Museum, Washington DC

Carl Leopold Hollitzer
Portrait of cabaret artist Marya Delvard
ca. 1905
watercolor on paper
Graphische Sammlung Albertina, Vienna

Giovanni Boldini
Portrait of Ethel Mary Crocker de Limur
1906
oil on canvas
Crocker Art Museum, Sacramento, California

Childe Hassam
The Victorian Chair
1906
oil on panel
Smithsonian American Art Museum, Washington DC

Henri Goovaerts
Portrait of Lily Goovaerts
ca. 1910
oil on canvas
Bonnefantenmuseum, Maastricht

PAUSE – A break in the line as metrically read or heard, which is almost always coincident with the end of a word, and which very frequently, but not always or so often as in the former case, coincides with a stop in punctuation.  It is not necessary that every line should have a pause; and the place of the pause, when it exists, is practically ad libitum in most, if not all lines, while there may be more pauses than one.  The attempt to curtail liberty in these three respects has been the cause of some of the worst mistakes about English prosody, especially when it takes the form of prescribing that the pause should always be as near the middle as possible.  Variety of pause is, in fact, next to variety of feet, the great secret of success in our verse; and it is owing to this that Shakespeare and Milton more especially stand so high.  On the other hand, this variety requires the most careful adjustment; and if such adjustment is neglected the lines will be uglier than continuously middle-paused ones, though not so monotonous. 

– George Saintsbury, from Historical Manual of English Prosody (1910)

Supine

William Mulready
Study for Prometheus
ca. 1820
watercolor on paper
National Gallery of Victoria, Melbourne

Barbro Bäckström
Statue of Liberty
1977
lithograph
Moderna Museet, Stockholm

Lionel Lindsay
Study of Recumbent Model
1896
drawing
National Gallery of Victoria, Melbourne

Henri-Félix-Emmanuel Philippoteaux
Studies of Recumbent Woman
ca. 1845
drawing
Scottish National Gallery, Edinburgh

Johann Baptist Reiter
Sleeping Woman
1849
oil on canvas
Belvedere Museum, Vienna

Félix Vallotton
Model with Blue Playing Cards
1914
oil on canvas
Von der Heydt Museum, Wuppertal

Constantin Guys
Studies of Recumbent Model
ca. 1830
drawing
Ordrupgaard Art Museum, Copenhagen

Giovanni Battista Piazzetta
Académie
ca. 1750-54
drawing
Morgan Library, New York

Pierre-Narcisse Guérin
Cephalus Asleep
1810
drawing
(study for painting)
Musée des Beaux-Arts de Valenciennes

Anton Kolig
Figure in Gray
1919
oil on canvas
Leopold Museum, Vienna

Lovis Corinth
Study of Model
1907
oil on canvas
Belvedere Museum, Vienna

Henry Moore
Reclining Figure with Pink Rocks
1942
drawing, with added watercolor
Albright-Knox Art Gallery, Buffalo, New York

Pablo Picasso
Nude with Bird
1968
oil on canvas
Museum Ludwig, Cologne

Carl Friedrich Lessing
Prone Figure
ca. 1830
drawing
Cincinnati Art Museum, Ohio

Jean-Jacques Henner
Penitent St Jerome
ca. 1880
oil on canvas
Musée des Beaux-Arts de Valenciennes

Wilhelm Böttner
Sleeping Venus
1789
oil on canvas
Museumslandschaft Hessen Kassel

Alexander, receiving this omen, returned victorious to Macedonia to find that his mother, Olympias, had been divorced by King Philip and that Philip had married the sister of Lysias, by name Kleopatra.  Philip's wedding was taking place that very day, and Alexander, wearing his Olympic victory crown, entered the banquet and said to King Philip: "Father, accept the victory crown of my first exertions.  And when in turn I give my mother, Olympias, to another king, I shall invite you to Olympias's wedding."  So saying, Alexander reclined opposite his father, Philip, but Philip was hurt by Alexander's words.

Then Lysias, a joker who was reclining at table, said to Philip: "King Philip, ruler over every city, now we celebrate your wedding with Kleopatra, an honorable lady, by whom you will have legitimate children, not the product of adultery – and they will look like you."  Hearing Lysias say this made Alexander angry, and he reacted instantly, hurling his goblet at Lysias; it hit him on the temple and killed him.

– Pseudo-Callisthenes, from The Alexander Romance (2nd-4th century AD), translated from Greek by Ken Dowden (1989)

Brady Portraits

Mathew Brady
Self Portrait with Juliet Brady
and Ellen Brady Haggerty
ca. 1851
daguerreotype
National Portrait Gallery, Washington DC

Mathew Brady
Angiolina Bosisio
before 1859
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Adelaide Ristori
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Hannah Albertine
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
John McCullough
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Mary Todd Lincoln
1861
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Martin Jenkins Crawford
ca. 1860
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Kate Morenski
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Unknown Woman
ca. 1860-70
albumen print from glass-plate negative-
National Portrait Gallery, Washington DC

Mathew Brady
Unknown Woman
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Emily Horne Jordan
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Nathaniel Hawthorne
ca. 1860-64
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Giacomo Glech
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Jennie Cleever
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Maggie Mitchell
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Laura Keene
(Keene was on stage performing before Lincoln when he was shot)
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

Mathew Brady
Mary Crisp Gladstone
ca. 1860-70
albumen print from glass-plate negative
National Portrait Gallery, Washington DC

from Metamorphoses

 

    Then sprang up first the golden age, which of it selfe maintainde,

    The truth and right of every thing unforst and unconstrainde.

There was no feare of punishment, there was no threatning lawe

In brazen tables nayled up, to keepe the folke in awe.

There was no man would crouch or creepe to Judge with cap in hand,

They lived safe without a Judge, in everie Realme and lande.

The loftie Pynetree was not hewen from mountaines where it stood,

In seeking straunge and forren landes, to rove upon the flood.

Men knew none other countries yet, than where themselves did keepe:

There was no towne enclosed yet, with walles and diches deepe.

No horne nor trumpet was in use, no sword nor helmet worne,

The world was suche, that souldiers helpe might easly be forborne.

The fertile earth as yet was free, untoucht of spade or plough,

And yet it yeelded of it selfe of every things inough.

And men themselves contented well with plaine and simple foode,

That on the earth of natures gift without their stravell stoode.

Did live by Raspis, heppes and hawes, by cornelles, plummes and cherries,

By sloes and apples, nuttes and peares, and lothsome bramble berries,

And by the acornes dropt on ground, from Joves brode tree in fielde.

The Springtime lasted all the yeare, and Zephyr with his milde

And gentle blast did cherish things that grew of owne accorde,

The ground untilde, all kinde of fruits did plenteously auorde.

No mucke nor tillage was bestowde on leane and barren land,

To make the corne of better head, and ranker for to stand.

Then streames ran milke, then streames ran wine, and yellow honey flowde

From ech greene tree whereon the rayes of firie Phebus glowde.

– Ovid (43 BC-AD 17), translated by Arthur Golding(1567)