Friday, July 17, 2026

Visual Preferences (20th Century: 1931)

Edward Weston
Cauliflower
1931
gelatin silver print
Art Institute of Chicago

Joaquín Torres-García
Construction in Red and Ochre
1931
oil on canvas
Blanton Museum of Art, Austin, Texas

Edward Steichen
Clare Boothe Luce
1931
dye imbibition print
Art Institute of Chicago

Fritiof Schüldt
Light and Dark (Studio Interior)
1931
oil on canvas
Moderna Museet, Stockholm

Carlo Sarrabezolles
Figure of Liberty
1931
plaster
Musée des Beaux-Arts de Reims

Henry Moore
Half Figure
1931
alabaster
Dallas Museum of Art

Lee Miller
Hand
1931
gelatin silver print
Art Institute of Chicago

Henri Matisse
Figure with Persian Robe
1931
oil on canvas
Barnes Foundation, Philadelphia

Clare Leighton
Limbing
1931
wood-engraving
Wichita Art Museum, Kansas

Walt Kuhn
Clown with Red Wig
1931
oil on canvas
Dallas Museum of Art

André Kertész
Paris - rue des Ursines
1931
gelatin silver print
Art Institute of Chicago

Jean Gorin
Composition no. 29
1931
oil on panel
Kunstmuseum, The Hague

Walker Evans
Bed and Stove, Truro, Massachusetts
1931
gelatin silver print
Loeb Art Center, Vassar College, Poughkeepsie, New York

Mabel Dwight
Statue of Marie de' Medici, Luxembourg Gardens, Paris
1931
lithograph
Wichita Art Museum, Kansas

Dines Carlsen
Studio
1931
oil on canvas
Indianapolis Museum of Art

Ilse Bing
Bal de la Couture, Paris
1931
gelatin silver print
Princeton University Art Museum

In Due Season 

Spring-time, Summer and Fall: days to behold a world
Antecedent to our knowing, where flowers think
Theirs concretely in scent-colors and beasts, the same
Age all over, pursue dumb horizontal lives
On one level of conduct and so cannot be
Secretary to man's plot to become divine.

Lodged in all is a set metronome: thus, in May
Bird-babes still in the egg click to each other Hatch!;
June-struck cuckoos go off-pitch; when obese July
Turns earth's heating up, unknotting their poisoned ropes,
Vipers move into play; warned by October's nip,
Younger leaves to the old give the releasing draught.

Winter, though, has the right tense for a look indoors
At ourselves, and with First Names to sit face-to-face,
Time for reading of thoughts, time for the trying-out
Of new metres and new recipes, proper time
To reflect on events noted in warmer months
Till, transmuted, they take part in a human tale.

There, responding to our cry for intelligence,
Nature's mask is relaxed into a mobile grin,
Stones, old shoes, come alive, born sacramental signs,
Not to us in the First Person of mysteries
They know nothing about, bearing a message from
The invisible sole Source of specific things.

– W.H. Auden (1968)