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| Léon Bakst Costume Design for Ida Rubenstein as Saint Sebastian 1911 watercolor on paper Isabella Stewart Gardner Museum, Boston |
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| Curt Behrends Söhnlein Rheingold 1911 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Aldo Carpi Figure Study 1911 drawing Clark Art Institute, Williamstown, Massachusetts |
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| Kees van Dongen The Blue Dress 1911 oil on canvas Van Gogh Museum, Amsterdam |
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| Leo Gestel Autumn 1911 oil on canvas Kunstmuseum, The Hague |
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| William James Glackens The Artist's Wife and Son 1911 oil on canvas (sketch for more highly finished painting) NSU Art Museum, Fort Lauderdale, Florida |
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| Childe Hassam The Sonata 1911 oil on canvas Museum of Fine Arts, Houston |
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| Robert Henri Rocks and Sea 1911 oil on panel Portland Museum of Art, Maine |
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| Heinrich Kühn Portrait of a Man 1911 photogravure Amon Carter Museum, Fort Worth, Texas |
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| Heinrich Kühn Portrait of a Woman 1911 photogravure Amon Carter Museum, Fort Worth, Texas |
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| Henri Le Sidaner Le Table d'Automne 1911 oil on canvas Musée des Beaux-Arts de Nantes |
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| Burkhardt Mangold Forster, Altorfer & Co. - Carpet Dealers 1911 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
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| Gabriele Münter Boys on Shrove Tuesday 1911 oil on panel Kunstmuseum, The Hague |
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| Adolf Schillinger Winter Mist 1911 photogravure Kunstbibliothek, Staatliche Museen zu Berlin |
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| Joaquín Sorolla y Bastida Portrait of Mary Lillian Duke 1911 oil on canvas Nasher Museum of Art, Durham, North Carolina |
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| Albert Weisgerber Notice of Relocation of J.E. Wolfensberger (commercial printer in Zürich) 1911 lithograph (poster) Kunstbibliothek, Staatliche Museen zu Berlin |
The River of Rivers in Connecticut
There is a great river this side of Stygia,
Before one comes to the first black cataracts
And trees that lack the intelligence of trees.
In that river, far this side of Stygia,
The mere flowing of the water is a gayety,
Flashing and flashing in the sun. On its banks,
No shadow walks. The river is fateful,
Like the last one. But there is no ferryman.
He could not bend against its propelling force.
It is not to be seen beneath the appearances
That tell of it. The steeple at Farmington
Stands glistening and Haddam shines and sways.
It is the third commonness with light and air,
A curriculum, a vigor, a local abstraction . . .
Call it, once more, a river, an unnamed flowing,
Space-filled, reflecting the seasons, the folk-lore
Of each of the senses; call it, again and again,
The river that flows nowhere, like a sea.
– Wallace Stevens (1954)