Collage

Mary Delany
Rosa Gallica
1782
collage, watercolor and gouache on paper
British Museum

Georges Valmier
Fugue
1920
gouache, ink and collage on paper
Guggenheim Museum, New York

Hannah Hoch
Tailor's Flower
1920
collage and ink on paper
Hirshhorn Museum, Washington DC

Joseph Cornell
For Jorge Luis Borges
before 1972
collage on paper
Smithsonian American Art Museum, Washington DC

Ray Johnson
Ruth Szowie
ca. 1972
collage and ink on paper
Hirshhorn Museum, Washington DC

Ray Johnson
André Breton
1972
collage and ink on paper
Hirshhorn Museum, Washington DC

Hans Richter
Watergate
1973
oil and collage on canvas
Hirshhorn Museum, Washington DC

Nancy Grossman
Twisting Column Figure
1976
ink, dyes and collage on board
Smithsonian American Art Museum,
Washington DC

Nancy Grossman
Mare Imbrium
1981-82
ink, dyes and collage on board
Smithsonian American Art Museum, Washington DC

Deborah Turbeville
Comme des Garçons
1980
collage of gelatin silver prints on paper
Whitney Museum of American Art, New York

Enid Munroe
On Perspective: Consideration
1980
graphite and collage on board
Smithsonian American Art Museum, Washington DC

Enid Munroe
Three Small Objects
1982
graphite, gouache and collage on paper
Smithsonian American Art Museum, Washington DC

Duncan Hannah
Lucky You
1981
collage of found paper
Whitney Museum of American Art, New York

David Hockney
My Mother, Bolton Abbey, Yorkshire
1982
collage of C-prints on paper
National Portrait Gallery, Washington DC

David Hockney
Sunday Morning, Mayflower Hotel
1983
collage of C-prints on paper
Art Institute of Chicago

Nancy Spero
Airborne
1998
screenprint and collage
Whitney Museum of American Art, New York

Tracey Moffatt
Picturesque Cherbourg No. 3
2015
collage of digital prints
Art Gallery of South Australia, Adelaide

Madrigal

A daedal of my death,

Now I resemble that subtle worm on Earth,

Which, prone to its own evil, can take no rest;

For with strange thoughts possessed

I feed on fading leaves

Of hope, which me deceives,

And thousand webs doth warp within my breast.

And thus in end unto myself I weave

A fast-shut prison, no, but even a grave.

– William Drummond of Hawthornden (ca. 1614)

Indirect

Henri-Pierre Danloux
Portrait of a Woman
1783
drawing
Kupferstichkabinett, Staatliche Museen zu Berlin

William Merritt Chase
Portrait of a Man
ca. 1875
oil on canvas
Clark Art Institute, Williamstown, Massachusetts

Axel Fridell
Ingrid XIII
1929
drypoint
Moderna Museet, Stockholm

Hans Hammarskiöld
Portrait of dancer Rudolf Nureyev
1967
gelatin silver print
Moderna Museet, Stockholm

Vilhelm Hammershøi
Self Portrait
1891
oil on canvas
Hirschsprung Collection, Copenhagen

Rockwell Kent
Self Portrait
1934
lithograph
Amon Carter Museum, Fort Worth, Texas

Per Krafft the Younger
Portrait of merchant Jacob Svante Wolter
ca. 1820
oil on canvas
Göteborgs Konstmuseum, Sweden

Aina Marmén
Self Portrait
1969
oil on canvas
Göteborgs Konstmuseum, Sweden

Amedeo Modigliani
Portrait of Germaine Sauvage
1918
oil on canvas
Musée des Beaux-Arts de Nancy

Charles Perrin
Portrait of a Woman
1931
oil on canvas
Musée des Beaux-Arts de Reims

Curt Querner
Self Portrait
1943
oil on board
Galerie Neue Meister (Albertinum), Dresden

Roman Empire
Head of Sabina
AD 130-140
marble
Antikensammlung, Staatliche Museen zu Berlin

Dante Gabriel Rossetti
Helen of Troy (Annie Miller)
1863
oil on panel
Hamburger Kunsthalle

Philipp Otto Runge
Portrait of painter and writer
Friedrich August von Klinkowström
1808
oil on canvas
Belvedere Museum, Vienna

Félix Vallotton
Portrait of actress Marthe Mellot
1898
oil on canvas
Kunsthaus Zürich

Pål-Nils Nilsson
Untitled (Face)
ca. 1960
gelatin silver print
Moderna Museet, Stockholm

As the Chorus turn towards the palace, as if about to enter and investigate, the ekkyklema platform is rolled out of the door.  On it is Clytemnestra, sword in hand, her clothes stained with blood, standing over the dead bodies of Agamemnon and Cassandra.  Agamemnon is slumped in a silver bathtub, and is enveloped from head to foot in a richly embroidered (but now also blood-stained) robe.

Clytemnestra:  I have said many things hitherto to suit the needs of the moment, and I shall not be ashamed to contradict them now.  How else could anyone, pursuing hostilities against enemies who think they are friends, set up their hunting-nets to a height too great to overleap?  This showdown was something that had long been in my thoughts, arising from a long-standing grievance; now it has come – at long last.  I stand where I struck, with my work accomplished.  I did it this way – I won't deny it – so that he could neither escape death nor defend himself.  I staked out around him an endless net, as one does for fish – a wickedly opulent garment.  Then I struck him twice, and on the spot, in the space of two cries, his limbs gave way and when he had fallen I added a third stroke, in thanksgiving to the Zeus of the underworld, the saviour of the dead, for the fulfillment of my prayers.  Thus, having fallen, he forced out his own soul, and he coughed up a sharp spurt of blood and hit me with a black shower of gory dew – at which I rejoiced no less than the growing corn rejoices in the liquid blessing granted by Zeus when the sheathed ears swell to birth.  If it were possible to make a really appropriate libation over the corpse, this [pointing to the blood on her clothes] is what it should rightly – no, more than rightly be; so many are this man's accursed crimes, with which he has filled a great mixing-bowl in this house, which now, on returning here, he himself has had to drink up.  That is the situation, you assembled Argive elders.  Rejoice in it or not, as you please.  I glory in it!

– Aeschylus, from Agamemnon (458 BC), translated by Alan H. Sommerstein (2008)

John Flaxman

John Flaxman
Design for Monument to Alderman Beckford
1770
drawing
Tate Britain

John Flaxman
Thomas Chatterton receiving Bowl of Poison from Despair
ca. 1775-80
drawing
British Museum

John Flaxman
Waiting on Sir Ed. Hales at St Stephen's
1775
drawing
(Flaxman caricatures himself at right as a poor supplicant)
Tate Britain

John Flaxman
Self Portrait, age 24
1779
drawing
University College London Art Museum

John Flaxman
Kneeling Figures receiving Two-Handled Cup
ca. 1780-1820
drawing
Victoria & Albert Museum, London

John Flaxman
Alcestis and Admetus
1789
drawing
Tate Britain

John Flaxman
Sheet of Studies
(from album of designs for tombs and monuments)
before 1820
drawing
Tate Britain

John Flaxman
Two Women at a Counter
before 1820
drawing
Yale Center for British Art

John Flaxman
Woman and Child
before 1820
drawing
Tate Britain

John Flaxman
Design for Monument to poet William Collins
1792
drawing, incorporated in letter (recto)
British Museum

John Flaxman
Design for Monument to poet William Collins
1792
drawing, incorporated in letter (verso)
British Museum

John Flaxman (design) for Josiah Wedgwood & Sons
Bulb Pot
before 1800
black basalt
Cooper-Hewitt Smithsonian Design Museum, New York

John Flaxman (design) for Josiah Wedgwood & Sons
Urn
before 1800
black basalt
Cooper-Hewitt Smithsonian Design Museum, New York

John Flaxman
Statue of St John the Evangelist in Westminster Abbey
ca. 1811
drawing
Metropolitan Museum of Art, New York

John Flaxman
St Michael overcoming Satan
ca. 1817
plaster modello for marble sculpture
Victoria & Albert Museum, London

John Flaxman
Shield of Achilles
1821-22
silver-gilt
(designed and modeled by Flaxman, cast by others)
Royal Collection, Great Britain

Henry Wolf after George Romney
John  Flaxman modeling Bust of William Hayley
1899
wood-engraving
Smithsonian American Art Museum, Washington DC

from Pharsalia

    A woode untoucht of old was growing there,

Of thicke set trees, whose boughs spreading and faire,

Meeting obscured the enclosed aire,

And made darke shades exiling Phoebus rayes.

There no rude Fawne, nor wanton Silvan playes,

No Nimph disports, but cruell Deityes

Claim barbarous rites, and bloody sacrifice:

Each tree's defil'd with humane blood: if wee

Beleeve traditions of antiquitie,

No bird dares light upon those hallowed bowes:

No beasts make there their dennes: no wind there blowes,

Nor lightning falls: a sad religious awe

The quiet trees unstirr'd by wind doe draw.

Blacke water currents from darke fountaines flow:

The gods unpolisht Images doe know

No arte, but plaine and formelesse trunkes they are.

Their mosse, and mouldinesse procures a feare:

The Common figures of knowne Deities

Are not so fear'd: not knowing what God tis

Makes him more awfull: by relation

The shaken earths darke carvernes oft did grone:

Fall'n Yew trees often of themselves would rise:

With seeming fire oft flam'd th'unburned trees:

And winding dragons the cold oakes imbrace:

None give neere worship to that balefull place;

The people leave it to the Gods alone.

– Lucan (AD 39-65), translated by Thomas May (1626)