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| George Copeland Ault House in Brittany 1925 oil on canvas Portland Museum of Art, Maine |
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| Edward Bawden Natural History Museum, South Kensington 1925 lithograph (poster) Art Institute of Chicago |
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| Claude Cahun Untitled 1925 gelatin silver print Institut Valencià d'Art Modern |
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| Theo van Doesburg Counter-Composition XVI 1925 oil on canvas Kunstmuseum, The Hague |
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| Durr Freedley Portrait of Mr & Mrs H.H. Freedley 1925 tempera on board Indianapolis Museum of Art |
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| Paul Morgan Gustin Guardians of the Pont du Carrousel 1925 etching Frye Art Museum, Seattle |
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| Frederic Charles Herrick Arrest the Flying Moment 1925 lithograph (poster for London Underground) Art Institute of Chicago |
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| Wassily Kandinsky Three Elements 1925 oil on board Musée d'Art Moderne et Contemporain, Strasbourg |
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| Paul Manship Diana 1925 bronze North Carolina Museum of Art, Raleigh |
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| Daniel de Monfreid Hommage à Gauguin 1925 oil on canvas Musée Hyacinthe Rigaud, Perpignan |
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| Gerald Murphy Watch 1925 oil on canvas Dallas Museum of Art |
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| Axel Nilsson Still Life with Pots 1925 oil on canvas Moderna Museet, Stockholm |
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| Pablo Picasso Three Dancers 1925 drawing Menil Collection, Houston |
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| Alexander Rodchenko The Workers' Club - International Exhibition of Decorative Arts and Modern Industry, Paris 1925 gelatin silver print Art Institute of Chicago |
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| Edward Weston Neil 1925 palladium print Art Institute of Chicago |
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| Richard Wyndham Le Vieux Quartier, Marseille 1925 graphite and watercolor on paper Manchester Art Gallery |
from The Aliens
Wide though the interrupt be that divides us, runers and counters,
from the Old World of the Plants, all lapped in a tolerant silence,
where, by the grace of chlorophyll, few of them ever have taken
life and not one put a sceptical question, we nod them as neighbours
who, to conclude from their friendly response to a gardener's handling,
like to be given the chance to get more than self-education.
As for the hot-blooded Beasts, we didn't need Darwin to tell us
horses and rabbits and mice are our cognates, the double-voiced song-birds
cousins, however removed: unique as we seem, we, too, are
shovelled out into the cold, poodle-naked, as male or as female,
grab at and gobble up proteins, drop dung, perform the ungainly
brute-with-two-backs until, dared and doddered by age, we surrender,
lapse into stagnant stuff, while they by retaining a constant
visible shape through a lifetime, accord with our human idea of
having a Self.
– W.H. Auden (1970)