Wiener Werkstätte (Designers)

Leopold Blonder for Wiener Werkstätte
Ispahan
ca. 1912-17
block-printed silk
Cooper Hewitt, Smithsonian Design Museum

Leopold Blonder for Wiener Werkstätte
Parsifal
ca. 1911-14
block-printed silk
Cooper Hewitt, Smithsonian Design Museum

Dagobert Peche for Wiener Werkstätte
Liszt
ca. 1911-13
block-printed silk
Cooper Hewitt, Smithsonian Design Museum

Dagobert Peche for Wiener Werkstätte
Krone
1919
printed silk
Cooper Hewitt, Smithsonian Design Museum

 

Dagobert Peche for Wiener Werkstätte
Diomedes
1919
gouache on paper (design for textile)
Cooper Hewitt, Smithsonian Design Museum

Erna Kopriva for Wiener Werkstätte
Ernestine
1927
gouache on paper (design for textile)
Cooper Hewitt, Smithsonian Design Museum

Erna Kopriva for Wiener Werkstätte
Cartage
1929
gouache on paper (design for textile)
Cooper Hewitt, Smithsonian Design Museum

Mathilde Flögl for Wiener Werkstätte
Florentina
1924
gouache on paper (design for textile)
Cooper Hewitt, Smithsonian Design Museum

Mathilde Flögl for Wiener Werkstätte
Miami
1927
block-printed silk
Cooper Hewitt, Smithsonian Design Museum

Arnold Nechansky for Wiener Werkstätte
Pompei
ca. 1910-11
block-printed silk
Cooper Hewitt, Smithsonian Design Museum

Josef Hoffmann for Wiener Werkstätte
Lyon
ca. 1910-15
block-printed silk
Cooper Hewitt, Smithsonian Design Museum

Josef Hoffmann for Wiener Werkstätte
Kiebitz
ca. 1910-15
gouache on paper (design for textile)
Cooper Hewitt, Smithsonian Design Museum

Ugo Zovetti for Wiener Werkstätte
Ibikus
ca. 1910-12
block-printed silk
Cooper Hewitt, Smithsonian Design Museum

Ugo Zovetti for Wiener Werkstätte
Iris
ca. 1910-12
block-printed silk
Cooper Hewitt, Smithsonian Design Museum

Marianne Perlmutter for Wiener Werkstätte
Heilbrunn
1917
gouache on paper (design for textile)
Cooper Hewitt, Smithsonian Design Museum

Wilhelm Foltin for Wiener Werkstätte
Lemberg
ca. 1916-18
gouache on paper (design for textile)
Cooper Hewitt, Smithsonian Design Museum

Wilhelm Foltin for Wiener Werkstätte
Lemberg
ca. 1916-18
gouache on paper (design for textile)
Cooper Hewitt, Smithsonian Design Museum

We'll to the woods no more,

The laurels all are cut,

The bowers are bare of bay

That once the Muses wore;

The year draws in the day

And soon will evening shut:

The laurels all are cut,

We'll to the woods no more.

Oh we'll no more, no more

To the leafy woods away,

To the high wild woods of laurel

And the bowers of bay no more. 

– A.E. Housman (1922)

Brevity

Lucas Cranach the Elder
Portrait of Christiane von Eulenau
1534
oil on panel
Staatsgalerie in der Neuen Residenz, Bamberg

Bartholomäus Bruyn the Elder
Portrait of Doctor Ludwig Falckenberch
ca. 1535
gouache and oil paint on paper
Musée des Beaux-Arts de Reims

Giovanni Jacopo Caraglio after Girolamo dai Libri
Virgin and Child with St Anne, St Roch and St Sebastian
ca. 1520-40
engraving
Graphische Sammlung Albertina, Vienna

Nicolaes de Bruyn
Abigail before David
1608
engraving
Graphische Sammlung, ETH Zürich

Michel Corneille the Elder
St Paul and St Barnabus denying the Gods of Lystra
1644
oil on canvas
(grisaille sketch for May painting at Notre Dame)
Musée Carnavalet, Paris

Pietro da Cortona (Pietro Berrettini)
Achilles receiving Weapons from Thetis
before 1669
drawing
Graphische Sammlung Albertina, Vienna

Michel Corneille the Younger
Studies for the Figure of Martha
ca. 1690
drawing
Hamburger Kunsthalle

Louis-Léopold Boilly
Young Woman holding Child
ca. 1810
pastel on paper
Graphische Sammlung Albertina, Vienna

Honoré Daumier
The Lover of Oysters
1836
lithograph
National Gallery of Canada, Ottawa

William Merritt Chase
Man wearing Gold-Rimmed Spectacles
ca. 1880
oil on canvas
New Britain Museum of American Art, Connecticut

Norman Deck
Joan at Witty Combe
1910
gelatin silver print
Art Gallery of New South Wales, Sydney

William Ramsden Brealey
Rich Man's Treasure - Poor Man's Treasure
ca. 1925
lithograph (poster)
Allard Pierson Museum, Amsterdam

Herbert Bayer
Herbert Bayer, Association of German Advertising Professionals
(Bauhaus in Dessau)
1928
lithograph and letterpress
Cooper Hewitt, Smithsonian Design Museum, New York

Edward Burra
Skull in a Landscape
1946
watercolor and gouache on paper
Imperial War Museum, London

Richard Benson
Stones of Newport
1977-78
palladium print
Smithsonian American Art Museum, Washington DC

Simon Cooper
Still Life (Package)
1993
etching
National Gallery of Australia, Canberra

Sam Contis
Eggs
2015
gelatin silver print
Whitney Museum of American Art, New York

Dedication to the first printing (1623) of The Duchess of Malfi

To the Right Honourable, George Harding, Baron Berkeley of Berkeley Castle, and Knight of the Order of the Bath to the Illustrious Prince Charles.

My Noble Lord,

    That I may present my excuse why, being a stranger to your lordship, I offer this poem to your patronage, I plead this warrant: men who never saw the sea, yet desire to behold that regiment of waters, choose some eminent river to guide them thither, and make that, as it were, their conduct or postilion; by the like ingenious means has your fame arrived at my knowledge, receiving it from some of worth who both in contemplation and practice owe to your Honour their clearest service.  I do not altogether look up at your title, the ancientest nobility being but a relic of time past, and the truest honour indeed being for a man to confer honour on himself, which your learning arrives to propagate and shall make you arrive at the dignity of a great example.  I am confident this work is not unworthy your Honour's perusal; for by such poems as this, poets have kissed the hands of great princes and drawn their gentle eyes to look down upon their sheets of paper when the poets themselves were bound up in their winding sheets.  The like courtesy from your Lordship shall make you live in your grave and laurel spring out of it, when the ignorant scorners of the Muses (that like worms in libraries seem to live only to destroy learning) shall wither, neglected and forgotten.  This work and myself I humbly present to your approved censure, it being the utmost of my wishes to have your Honourable self my weighty and perspicuous comment: which grace so done me, shall ever be acknowledged

                                                                                            By your Lordship's

                                                                                                 in all duty and observance,

                                                                                                         John Webster

L'Allegro - I

Max Beckmann
Dream of Monte Carlo
ca. 1939
oil on canvas
Staatsgalerie Stuttgart

Harold Edgerton
Formation of a Drop of Oil
1982
C-print
Amon Carter Museum, Fort Worth, Texas

Asger Jorn
The Only Possession
1960
oil on canvas
Graphische Sammlung Albertina, Vienna

Erich Mendelsohn
Walhallball
1914
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Max Kurzweil
Birdman
before 1916
drawing
Graphische Sammlung Albertina, Vienna

Christina Rundqvist
Troll Forest
ca. 1975
lithograph
Moderna Museet, Stockholm

Stuart Davis
Bass Rocks no. 2
1934
oil on canvas
Amon Carter Museum, Fort Worth, Texas

Charley Toorop
Musicians and Dancing Workers
1927
oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands

Théo van Rysselberghe
Storm Winds from the East
1905
oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands

Fritz Stuckenberg
The Lovers Paul and Emmeke van Ostaijen
1919
oil on canvas
Landesmuseum für Kunst und Kulturgeschichte, Oldenburg, Germany

Henry Pearson
Untitled
1964
lithograph
Amon Carter Museum, Fort Worth, Texas

Wolfgang Mattheuer
Sisyphus Escaping
1972
oil on panel
Galerie Neue Meister (Albertinum), Dresden

Robert Delaunay
Hommage à Blériot
1914
oil on canvas
Musée de Grenoble

Wiener Porzellanmanufaktur
Design for Decorative Border
ca. 1800
gouache on paper
Museum für Angewandte Kunst, Vienna

Ursula Schultze-Bluhm
Rendezvous in the Meadow and on the Water
1989
oil on canvas
Galerie Neue Meister (Albertinum), Dresden

Henri de Toulouse-Lautrec
Dressing-Room Scene
1896
oil on paper
(print study)
Musée des Augustins de Toulouse

Heraclitus in silence speaks thus from his eyes: "I shall set aflame even the fire of the bolts of Zeus." Yea, verily, and from the bosom of Diodorus comes this voice: "I melt even stone warmed by my body's touch." Unhappy he who has received a torch from the eyes of the one, and from the other a sweet fire smouldering with desire. 

Sweet dawn has come, and lying sleepless in the porch Damis is breathing out the little breath he has left, poor wretch, all for having looked on Herclitus; for he stood under the rays of his eyes like wax thrown on burning coals.  But come, awake, all luckless Damis!  I myself bear Love's wounds, and shed tears for thy tears. 

If Zeus still be he who stole Ganymede in his prime that he might have a cup-bearer of the nectar, I, too, may hide lovely Myiscus in my heart, lest before I know it he swoop on the boy with his wings.

I see not lovely Dionysius.  Has he been taken up to heaven, Father Zeus, to be the second cup-bearer of the immortals?  Tell me, eagle, when thy wings beat rapidly over him, how didst thou carry the pretty boy? has he marks from thy claws?

I wish not Charidemus to be mine; for the fair boy looks to Zeus, as if already serving the god with nectar.  I wish it not.  What profits it me to have the king of heaven as a competitor for victory in love?  I am content if only the boy, as he mounts to Olympus, take from earth my tears to wash his feet in memory of my love; and could he but give me one sweet, melting glance and let our lips just meet as I snatch one kiss!  Let Zeus have all the rest, as is right; but yet, if ye were willing, perchance I, too, should taste ambrosia.  

Antipater kissed me when my love was on the wane, and set ablaze again the fire from the cold ash.  So against my will I twice encountered one flame.  Away, ye who are like to be love-sick, lest touching those near me I burn them. 

– from Book XII (Strato's Musa Puerilis) in the Greek Anthology, translated and edited by W.R. Paton (1917)