Practical Foreshortening - II

Édouard Manet
Plum Brandy
ca. 1877
oil on canvas
National Gallery of Art, Washington DC

Palma il Giovane
St Jerome
before 1628
drawing
Graphische Sammlung Albertina, Vienna

Alexandre-Denis-Abel de Pujol
Seated Model
1834
drawing
(study for painting, Apotheosis of Alexander)
Musée des Beaux-Arts de Valenciennes

Pablo Picasso
Kneeling Nude
1907-1908
drawing
(study for painting, Three Women)
Metropolitan Museum of Art, New York

Giuseppe Rolli
Figure in Clouds
ca. 1660
drawing
Scottish National Gallery, Edinburgh

Benedetto Luti
Supper at Emmaus
ca. 1695
oil on panel
Princeton University Art Museum

Jacob Matthias Schmutzer
Académie
ca. 1770-80
drawing
Hamburger Kunsthalle

Jacob Jordaens
Study of Figure in Priestly Vestments
ca. 1650
drawing
Minneapolis Institute of Art

Henry Fuseli
Figure Study
(made at the Royal Academy, London)
1800
drawing
Kupferstichkabinett, Kunstmuseum Basel

Anton Kolig
Large Kneeling Figure
1922
oil on canvas
Leopold Museum, Vienna

Théodore Géricault
Académie
ca. 1812
oil on canvas
(test patch cleaned, lower right corner)
National Museum, Warsaw

Pietro da Cortona (Pietro Berrettini)
Foreshortened Figure
ca. 1640
drawing
Graphische Sammlung Albertina, Vienna

Federico Barocci
Figure Studies
ca. 1580-83
drawing
(studies for painting, Martyrdom of St Vitalis)
Kupferstichkabinett, Staatliche Museen zu Berlin

Pompeo Batoni
Académie
1768
drawing
Kupferstichkabinett, Staatliche Museen zu Berlin

attributed to Aert de Gelder
Model arranging her Hair
ca. 1690
drawing
Morgan Library, New York

 

Federico Zuccaro
Putto
ca. 1580
drawing
Graphische Sammlung Albertina, Vienna

Overcome by hunger, Rhodanes and his companion lick the honey off themselves, are stricken with diarrhea, and fall as if dead at the side of the road.  Worn out from fighting the bees, the soldiers flee; all the same, they pursue Rhodanes and his companion, and, seeing their quarry collapsed, they pass them by, taking them to be truly dead.  . . .  While Rhodanes and Sinonis are lying collapsed at the side of the road, the soldiers as they are passing follow the custom of their country in throwing shrouds in the form of tunics over what they take to be corpses, and whatever they happen to have, and pieces of meat and bread.  In this way the soldiers pass by.  The couple made unconscious by the honey wake up with difficulty; Rhodanes is awakened by the sound of crows quarreling over the pieces of meat, and he wakes up Sinonis.  They get up and travel in the direction opposite to that taken by the soldiers so as to improve their chances of not being recognized as the fugitives.  Finding two asses, they mount them and load them with what they retained from the things that the soldiers who supposed that they were dead threw over their bodies.  They then turn into an inn, flee from there, and take lodgings at another one around midday.

– Iamblichus, from A Babylonian Story, written in Greek, 2nd century AD.  A summary of the book was composed (also in Greek) in the 9th century by Photius, Patriarch of Constantinople.  Except for fragments, the original text by Iamblichus was subsequently lost, but the summary by Photius has survived.  This was translated into English by Gerald N. Sandy (1989).

Peter Max

Peter Max
Charles, Prince of Wales
1969
colored inks and collage on board
(commissioned by Time magazine)
National Portrait Gallery, Washington DC

Peter Max
Love
1967
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Man Must Moon
1969
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
A Beautiful Summer Day
With the NBC Owned Television Stations
1970
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Police Dept.
ca. 1970
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
123 Infinity
ca. 1968
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Happy People Don't Smoke Cigarettes
American Cancer Society
ca. 1970
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Ben Turpin Cameo
1967
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
John Lindsay
1969
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Jazzmobile
1967
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Outer Space
1967
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
The Book of Posters
1971
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
The World of Peter Max
1970
lithograph (exhibition poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Peter Max - Magit Gallery
1980
lithograph (exhibition poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Peter Max - Muirhead Galleries
1977
lithograph (exhibition poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Peace Corps
1970
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
10 Siblings
1967
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

from Tristia

[Packing for exile]

When night falls here, I think of that other night

        when the shadow fell once and for all and I

was cast out of the light into this endless gloom.

        Twilight here calls forth from certain birds

a kind of mournful twitter, but silent tears from me

        as I think of how it was that night in the city.

The nimble hours skittered, turning us all clumsy

        and the simplest menial task onerous. Packing

was either a nightmare itself or one of those cruel jokes

        you sometimes find in your worst dreams. Papers

hid and even after we'd found them refused to stay put.

        We blamed ourselves for having wasted time

trying to talk it out and ourselves into understanding

        what was going on, and not to impose

what we were feeling. I'd made lists of clothing, equipment . . .

        But who had the composure? And pitiless time

nudged us along, forcing our minds to these cruel questions.

        Or was it perhaps a mercy? We managed to laugh

once or twice, as my wife found in some old trunk

        odd pieces of clothing. "This might be

just the thing this season, the new Romanian mode . . ."

        And just as abruptly our peal of laughter would catch

and tear into tears as she dropped the preposterous shepherd's cloak    

        and we held each other. On drill, like a legion,

the minutes passed, each of them bearing Caesar's blazon,

        advancing by so much the terrible deadline.

It wasn't the fall of Troy, but what we all dread

        as we read of the fall of Troy, whatever the scale

by which we figure grief, investing in those old figures 

        what our approximate hearts have learned to feel.

– Ovid (43 BC-AD 17), translated by David R. Slavitt (1999)