-Portrait-of-Gudrun-Gr%C3%A4fin-von-Schwerin-1908-drawing-(Galerie-Bassenge-Berlin-2020)-private-collection.jpg) |
| Fidus (Hugo Höppener) Portrait Study of Gudrun, Gräfin von Schwerin 1908 drawing (sold in 2020 through Galerie Bassenge, Berlin) private collection |
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| Oskar Kokoschka Portrait of Frau Karpeles 1911 oil on canvas Hirshhorn Museum, Washington DC |
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| Emanuel Phillips Fox The Green Parasol ca. 1912 oil on canvas National Gallery of Australia, Canberra |
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| Robert Henri Girl of Segovia 1912 oil on canvas New Britain Museum of American Art, Connecticut |
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| Rik Wouters Lady in Red 1912 oil on canvas Museum Boijmans Van Beuningen, Rotterdam |
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| Richard Jack Portrait of Rebeca Maria Jack 1913 oil on canvas National Gallery of Canada, Ottawa |
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| William Glackens Girl in Black and White 1914 oil on linen Whitney Museum of American Art, New York |
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| John William Waterhouse Study for A Tale from the Decameron ca. 1915-16 drawing National Gallery of Canada, Ottawa |
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| Kenyon Cox The Sword is Drawn 1917 lithograph (recruiting poster for U.S. Navy) Cooper Hewitt, Smithsonian Design Museum |
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| Louis Ritman Woman before a Mirror 1918 oil on canvas New Britain Museum of American Art, Connecticut |
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| Amedeo Modigliani Jeanne Hébuterne with Yellow Sweater 1918-19 oil on canvas Guggenheim Museum, New York |
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| Hélène-Marie Marguerite Perdriat Girl with Cat ca. 1920 oil on panel Barnes Foundation, Philadelphia |
-Portrait-of-a-Woman-c1920-etching-Clark-Art-Institute-Williamstown-Massachusetts.jpg) |
| William Lee-Hankey Portrait of a Woman ca. 1920 etching Clark Art Institute, Williamstown, Massachusetts |
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| Hans Gjesme Head of a Woman ca. 1920-23 drawing Sogn og Fjordane Kunstmuseum, Norway |
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| William McGregor Paxton The Figurine 1921 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Allen Tucker Bagdad 1923 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Margaret Michaelis Portrait of a Viennese Woman ca. 1924 gelatin silver print National Gallery of Australia, Canberra |
ACCENT – This term, which is perhaps the principal centre of dispute in matters prosodic, and which, even outside strict prosody, is not a little controversial, may be defined, as uncontroversially as possible, in the words of a highly respectable book of reference* – "A superior force of voice, or of articulative effort, upon some particular syllable." It is prosodically used as equivalent (with some slight difference) to "stress," and is regarded by a large – perhaps the most numerous – school as constituting the foundation-stone of English prosody. The inconveniences and insufficiencies of this view will be found constantly indicated throughout this book. On the question, almost more debated, what constitutes, and in different languages and times has constituted, accent itself – whether it is loudness, duration, "pitch," or what not of sound – no pronouncement has been or will be attempted in this volume.
– George Saintsbury, from Historical Manual of English Prosody (1910)
*Webster's Dictionary