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| Oluf Hartmann Model with Towel 1900-1905 drawing Statens Museum for Kunst, Copenhagen |
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| Ludwig von Hofmann Model Study ca. 1910 drawing Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden |
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| Ludwig von Hofmann Narcissus ca. 1900 oil on canvas National Museum, Warsaw |
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| Kenyon Cox The Silver Hand-Glass 1907 oil on canvas Smithsonian American Art Museum, Washington DC |
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| George Bellows Model Bending ca. 1922 drawing Art Institute of Chicago |
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| George Bellows Study of Model 1916 lithograph Amon Carter Museum of American Art, Fort Worth, Texas |
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| Edward Hopper Académie ca. 1902-1904 oil on canvas Whitney Museum of American Art, New York |
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| Edward Hopper Study of Model ca. 1917 graphite, watercolor and gouache on paper Whitney Museum of American Art, New York |
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| James Daugherty Figure Study ca. 1916-17 drawing Whitney Museum of American Art, New York |
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| Harold Gilman Study of Seated Model ca. 1909-1911 drawing British Museum |
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| Grigory Gluckmann Seated Model 1918 oil on panel Manchester Art Gallery |
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| Evelyn Chapman Standing Model ca. 1912 drawing Art Gallery of New South Wales, Sydney |
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| Georg Kolbe Figure Study ca. 1905 drawing Buffalo AKG Art Museum, New York |
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| Roland Wakelin Arm Study 1912 drawing Art Gallery of New South Wales, Sydney |
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| Henry Scott Tuke A Sunny Corner 1906 watercolor and gouache on paper Queensland Art Gallery, Brisbane |
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| Wilhelm von Gloeden Boy holding Lilies ca. 1910 albumen silver print National Gallery of Australia, Canberra |
Marsyas
I used to write in the café sometimes:
Poems on menus, read all over town
Or talked out before ever written down.
One day a girl brought in his latest book.
I opened it – stiff rhythms, gorgeous rhymes –
And made a face. Then crash! my cup upset.
Of twenty upward looks mine only met
His, that gold archaic lion's look.
Wherein I saw my wiry person skinned
Of every skill it labored to acquire
And heard the plucked nerve's elemental twang.
They found me dangling where his golden wind
Inflicted so much music on the lyre
That no one could have told you what he sang.
– James Merrill (1959)