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| Jan Svenungsson The Perfect Photograph 1992 C-print Moderna Museet, Stockholm |
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| Jakob Ferdinand Saeys Perspective View of an Italian Palace 1683 oil on canvas Musée des Beaux-Arts de Valenciennes |
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| Gino Severini Pierrot 1923 oil on canvas Kröller-Müller Museum, Otterlo, Netherlands |
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| Giorgio Morandi On the Outskirts of a Town 1941 oil on canvas National Gallery of Slovenia, Ljubljana |
Morandi's wartime landscape departs from the more familiar tabletop still-lifes that had already made him Italy's most famous living painter by the 1940s. This atypical composition was presented in 1942 as a friendship gift to the museum in Slovenia by the Italian Fascist Occupation Authority.
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| Edvard Munch Evening on Karl Johan Street 1892 oil on canvas KODE (Art Museums Complex), Bergen, Norway |
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| Wilhelm von Langenschwarz Sunday Parade on Friedrichsplatz ca. 1865 oil on canvas Museumslandschaft Hessen Kassel |
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| Eadweard Muybridge Cemetery, Guatemala 1875 albumen silver print Amon Carter Museum, Fort Worth, Texas |
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| Carl Gustaf Rosenberg Interior, Mårten Skinnares Hus, Vadstena 1940 gelatin silver print Moderna Museet, Stockholm |
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| Georgia O'Keeffe Black Patio Door 1955 oil on canvas Amon Carter Museum, Fort Worth, Texas |
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| Egbert Henricus Shoemaker The Study of Simon van Gijn 1888 oil on canvas Dordrechts Museum, Netherlands |
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| Alexis-Marie Lahaye Morning Joy ca. 1890 oil on canvas Musée des Beaux-Arts de Nîmes |
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| Ludwig Ferdinand Graf Rural Interior 1909 oil on canvas Belvedere Museum, Vienna |
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| Albert Bettannier The Black Stain (French loss of Alsace to Germany in the Franco-Prussian War) 1887 oil on canvas Deutsches Historisches Museum, Berlin |
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| Espen Gleditsch Palazzo della Civiltà Italiana #4 2017 pigment print mounted on aluminum KORO (Public Art Norway), Oslo |
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| Atle Folstad Untitled 1994 gouache on paper KORO (Public Art Norway), Oslo |
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| Man Ray Return to Reason 1939 oil on canvas Museum Ludwig, Cologne |
Athena: Shall I now instruct these men to cast a vote in accordance with their honest opinions, on the ground that there has been sufficient argument?
Apollo: On our side every arrow has now been shot; I am staying to hear how the trial is decided.
Athena: [to Chorus of Furies]: What about you? How shall I arrange things so as to be blameless in your eyes?
Chorus [to the judges]: You have heard what you have heard; but when you cast your votes, gentlemen, have respect in your hearts for your oath.
Athena: Now hear my ordinance, people of Attica, who are judging this first trial for bloodshed. In time to come also, the people of Aegeus will always have this council of judges. They will sit on this hill, the abode and camping-place of the Amazons when they came as invaders, out of jealousy of Theseus,* fortified this new citadel with high walls opposite the existing citadel, and sacrificed to Ares, whence this crag and hill was given the name of the Areopagus. Upon it, the respect and inborn fear of the citizens will prevent any wrong being done, alike by day and by night, if the citizens themselves do not make innovative additions to the laws: if you sully clear water with foul infusions of mud, you will never get a drink. I counsel my citizens to maintain, and practise reverently, a system which is neither anarchic nor despotic, and not to cast fear completely out of the city; for what mortal respects justice, if he fears nothing?
– Aeschylus, from Eumenides (458 BC), translated by Alan H. Sommerstein (2008)
*The defeat of the Amazons' invasion was one of the most glorious episodes in Athenian myth, frequently referred to in patriotic oratory. Usually they are said to have been attempting to rescue an Amazon princess whom Theseus had carried off from her homeland in an earlier expedition, but there was another tradition according to which their invasion was an unprovoked act of aggression. There was a sanctuary called the Amazoneion on the alleged site of the Amazons' camp on the Areopagus.