Yves Klein

Yves Klein
Untitled Blue Monochrome (IKB-82)
1959
pigment in synthetic resin on panel
Guggenheim Museum, New York

Yves Klein
Untitled Red Monochrome (M-63)
1959
pigment in synthetic resin on panel
Guggenheim Museum, New York

Charles Wilp
Yves Klein painting a Mural
Gelsenkirchen Opera House
1959
gelatin silver print
Archives of American Art, Washington DC

Charles Wilp
Yves Klein painting a Mural
Gelsenkirchen Opera House
1959
gelatin silver print
Archives of American Art, Washington DC

Charles Wilp
Yves Klein painting a Mural
Gelsenkirchen Opera House
1959
gelatin silver print
Archives of American Art, Washington DC

Yves Klein
Anthropometrie
1960
pigment in synthetic resin on paper, mounted on canvas
Hirshhorn Museum, Washington DC

Yves Klein
Requiem (RE-20)
1960
pigment in synthetic resin
over sponges and pebbles, mounted on panel
Menil Collection, Houston

Harry Shunk
Yves Klein saut dans la vide, Paris
1960
gelatin silver print
Buffalo AKG Art Museum, New York

Georges Véron
Yves Klein painting with Fire
after 1961
gelatin silver print
Archives of American Art, Washington DC 

Anonymous Photographer
Yves Klein with his Mur de Feu
at Museum Haus Lange, Krefeld
1961
gelatin silver print
Archives of American Art, Washington DC

Yves Klein
Le Monochrome at Dwan Gallery, Los Angeles
1961
offset print (exhibition announcement)
Archives of American Art, Washington DC

Yves Klein
Mondo Cane Shroud
1961
pigment in synthetic resin on gauze
Walker Art Center, Minneapolis

Yves Klein
Untitled Monogold (MG-24)
1961
gold leaf on panel
Moderna Museet, Stockholm

Yves Klein
Monochrome Blue (YKB-73)
1961
pigment in synthetic resin on panel
Museum Ludwig, Cologne

Yves Klein
Anthropometrie
1962
oil on paper
Los Angeles County Museum of Art

Yves Klein
Portrait Relief (PR-3)
1962
painted bronze relief mounted on gilded panel
Art Gallery of New South Wales, Sydney

Yves Klein
Winged Victory of Samothrace
1962
painted plaster statuette on stone base
Kunsthalle Mannheim

from The Tragedie of Sophonisba

SYPHAX: 

Since heaven helpes not, deepest hell welle try.

Here in this desart the great soule of Charmes,

Dreadful Erichtho lives whose dismall brow,

Contemnes all roofes or civill coverture,

Forsaken graves and tombes the Ghosts forcd out,

She joyes to inhabit.

A loathsome yellowe leannessse spreades her face,

A heavy hell-like palenes loades hir cheekes

Unknowne to a cleare heaven: but if darke windes,

Or thick black cloudes drive back the blinded stars,

When her deep magicque makes forc'd heven quake

And thunder spite of Jove, Erichtho then

From naked graves stalkes out, heaves proud hir head,

With long unkemde haire loaden, and strives to snatch

The Night's quick sulphar: then she bursts up tombes

From half rot searcloths then she scrapes dry gummes

For hir black rites: but when she finds a corse

New gravd, whose entrailes yet not turne

To slymie filth with greedy havock then

She makes fierce spoile: and swells with wicked triumph

To bury hir leane knuckles in his eyes,

Then doeth she knaw the pale and or'egrowne nailes

From his dry hand: but if she find some life

Yet lurking close she bites his gelled lips,

And sticking her black tongue in his drie throat,

She breathes dire murmurs, which inforce him beare

Her banefull secrets to the spirits of horror.

– Lucan (AD 39-65), translated by John Marston (1606)

Depths

Herri met de Bles
Landscape with Forge
ca. 1535
oil on panel
Liechtenstein Museum, Vienna

Philip Galle after Maarten van Heemskerck
Colossus of Rhodes
1572
hand-colored engraving
Rijksmuseum, Amsterdam

Jan de Bisschop
View of The Hague from the Northwest
ca. 1660-65
ink and watercolor on paper 
Graphische Sammlung Albertina, Vienna

Georg Balthasar
Outskirts of Amsterdam
ca. 1775
hand-colored engraving (peep-show scene)
Cooper Hewitt, Smithsonian Design Museum

Antonio Carnicero
Ascent of a Balloon in the Presence of the Court of Charles IV of Spain
ca. 1783
oil on canvas
Museo de Bellas Artes de Bilbao, Spain

John Sell Cotman
Mousehold Heath, Norwich
1810
watercolor on paper
British Museum

Edward Lear
View of Monaco
ca. 1864
watercolor and gouache on paper
British Museum

Jean-Léon Gérôme
Prayer in the Mosque
1871
oil on canvas
Metropolitan Museum of Art, New York

Vincent van Gogh
Landscape with Snow
1888
oil on canvas
Guggenheim Museum, New York

Willem Roelofs
Landscape near Gouda
before 1897
drawing
British Museum

Williams, Brown & Earle (Philadelphia)
La Grande Charmille, Château de Voisins
1936
hand-colored lantern-slide
Archives of American Gardens, Washington DC

Sali Herman
McElhone Stairs
1944
oil on canvas
National Gallery of Australia, Canberra

Christo (Christo Javacheff)
Running Fence, Project for Sonoma and Marin Counties
1976
collage and mixed media on paper
Hirshhorn Museum, Washington DC

Geoffrey James
Giardino Storico di Valsanzibio, Villa Barbarigo
1984
gelatin silver print
National Gallery of Canada, Ottawa

Eric Meola
California
1991
C-print
(commissioned by Time magazine)
National Portrait Gallery, Washington DC

Andreas Gursky
Atlanta
1996
C-print
Buffalo AKG Art Museum, New York

Mitch Epstein
Century Wind Project - Blairsburg, Iowa
2008
C-print
Smithsonian American Art Museum, Washington DC

Madrigal

Like the Idalian queen,

Her hair about her eyne, 

With neck and breasts ripe apples to be seen,

At first glance of the morn

In Cyprus garden gathering those fair flowers

Which of her blood were born,

I saw, but fainting saw, my paramours.

The Graces naked danced about the place,

The winds and trees amazed

With silence on her gazed;

The flowers did smile, like those upon her face,

And as their aspen stalks those fingers band,

That she might read my case,

A hyacinth I wished me in her hand.

– William Drummond of Hawthornden (ca. 1614)

Alert

Anna Riwkin
Portrait of writer Dagmar Lange
ca. 1955
gelatin silver print
Moderna Museet, Stockholm

Peter Paul Rubens 
Portrait of Eleanor Gonzaga,
later Holy Roman Empress
ca. 1600-1601
oil on canvas
Kunsthistorisches Museum, Vienna

Ulf Sjöstedt
Untitled (Jacob)
ca. 1965
gelatin silver print
Moderna Museet, Stockholm

Joseph Karl Stieler
Portrait of Augusta Amélie of Bavaria,
Duchess of Leuchtenberg
ca. 1820
oil on canvas
Château de Malmaison

Jan Terwey
Self Portrait
1915
drawing
Kröller-Müller Museum, Otterlo, Netherlands

Carle Vanloo
Portrait of Cristina Somis
ca. 1750
pastel on paper
Galleria Sabauda, Turin

Jan Veth
Portrait of Klazina Christina Boxman Winkler
1906
oil on panel
Dordrechts Museum, Netherlands

Gustave Colin
Seated Young Woman
ca. 1880
oil on canvas
Musée des Beaux-Arts de Pau

Eugène Devéria
Self Portrait
1838
oil on canvas
Musée des Beaux-Arts de Pau

Uno Falkengren
Portrait of actor Gösta Ekman, Stockholm
1916
gelatin silver print
Moderna Museet, Stockholm

Henry Fuseli
Study for Shakespeare's Macbeth
ca. 1770-80
drawing
National Gallery of Victoria, Melbourne

Åke Göransson
The Strongest Man in Göteborg
ca. 1926-28
oil on canvas
Göteborgs Konstmuseum, Sweden

Ancient Greek Culture
Head of Philosopher
240 BC
bronze
(recovered from the Aegean)
National Archaeological Museum, Athens

Adriaen Thomasz Key
Portrait of a Man in Spanish Dress
1568
oil on panel
Kunsthistorisches Museum, Vienna

Michiel van Miereveld
Portrait of a Young Woman
ca. 1620
oil on panel
Gemäldegalerie, Staatliche Museen zu Berlin

Grant Wood
Midnight Alarm
1939
lithograph
Amon Carter Museum, Fort Worth, Texas

Chorus:  We are amazed at your language – the arrogance of it – uttering boastful words like these over your husband!

Clytemnestra:  You are making trial of me as if I were a stupid woman.  But I say to you, with undaunted heart, what you know to be true – and I am indifferent to whether you choose to praise or condemn me: this is Agamemnon, my husband, a corpse, the work of this right hand of mine, an artificer of justice.  That's how it is.

Chorus:

What evil thing have you tasted, woman –

what food or what drink, whether growing from the earth

or having its origin in the flowing seas –

to make you bring on your head this slaughter and loud public curses?

You have cast them aside, you have cut them* off; you shall be banished from the city,

mightily hated by the community.

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

*The object of these verbs is not expressed in the Greek, but probably what Clytemnestra has "cast aside" and "cut off" is the public and their opinions, for which she has just shown the utmost contempt.