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| Émile-Antoine Bourdelle Large Bacchante 1907 plaster on carved wood base Dallas Museum of Art |
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| Edward S. Curtis Portal, San Xavier de Bac Mission 1907 photogravure Amon Carter Museum, Fort Worth, Texas |
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| Minya Dièz-Dürhkoop Couple on Sofa 1907 gelatin silver print Kunstbibliothek, Staatliche Museen zu Berlin |
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| Augustus John Portrait of William Butler Yeats 1907 oil on canvas Manchester Art Gallery |
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| Ernst Ludwig Kirchner Künstlergruppe Brücke 1907 lithograph (exhibition poster) Art Institute of Chicago |
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| Piet Mondrian The Red Cloud 1907 oil on board Kunstmuseum, The Hague |
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| Pablo Picasso Untitled 1907 drawing Menil Collection, Houston |
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| Muirhead Bone The Jews' Quarter, Leeds 1908 drypoint Wichita Art Museum, Kansas |
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| Pierre Bonnard Nu à contre-jour 1908 oil on canvas Musées Royaux des Beaux-Arts de Belgique, Brussels |
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| Georges Braque Le Compotier 1908 oil on canvas Moderna Museet, Stockholm |
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| Bertha E. Jaques San Diego Seaweed 1908 cyanotype Art Institute of Chicago |
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| Henri Matisse Bronze Figure 1908 oil on canvas Nasjonalmuseet, Oslo |
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| Albert Meyer Almstüberl 1908 photogravure Kunstbibliothek, Staatliche Museen zu Berlin |
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| Gabriele Münter Fisherman's House 1908 oil on panel Princeton University Art Museum |
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| Joseph Lindon Smith Bust of Akhenaten 1908 oil on canvas Isabella Stewart Gardner Museum, Boston |
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| Édouard Vuillard The Tent 1908 tempera on paper, mounted on canvas Dallas Museum of Art |
from St. Armorer's Church from the Outside
The chapel rises, his own, his period,
A civilization formed from the outward blank,
A sacred syllable rising from sacked speech,
The first car out of a tunnel en voyage
Into lands of ruddy-ruby fruits, achieved
Not merely desired, for sale, and market things
That press, strong peasants in a peasant world,
Their purports to a final seriousness –
Final for him, the acceptance of such prose,
Time's given perfections made to seem like less
Than the need of each generation to be itself,
The need to be actual and as it is.
St. Armorer's has nothing of this peasant,
This vif, this dizzle-dazzle of being new
This vif, this dizzle-dazzle of being new
And of becoming, for which the chapel spreads out
Its arches in its vivid element,
In the air of newness of that element,
In an air of freshness, clearness, greenness, blueness,
That which is always beginning because it is part
Of that which is always beginning, over and over.
The chapel underneath St. Armorer's walls,
Stands in a light, its natural light and day,
The origin and keep of its health and his own.
And there he walks and does as he lives and likes.
– Wallace Stevens (1954)