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| Reginald Marsh Mink and Mannequin 1940 watercolor on paper Dallas Museum of Art |
-c1940-gelatin-silver-print-Art-Institute-of-Chicago.jpg) |
| Gordon Coster Metallic Evening Clutch with Couple in Mirror 1940 gelatin silver print Art Institute of Chicago |
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| Helen Levitt New York 1940 gelatin silver print Art Institute of Chicago |
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| Russell Lee Lunch Break Consolidated Airplane Factory, San Diego, California 1940 gelatin silver print Portland Museum of Art, Maine |
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| Clarence Chatterton Road to Ogunquit 1940 oil on panel Portland Museum of Art, Maine |
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| Raphael Gleitsmann Untitled 1940 watercolor on paper Akron Art Museum, Ohio |
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| Raoul Dufy Café Marocain 1940 watercolor on paper Dallas Museum of Art |
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| John Buczak 44th Annual Exhibition by Artists of Chicago and Vicinity 1940 screenprint (WPA poster) Art Institute of Chicago |
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| John Vachon Rents Are Going Up In Memphis, Tennessee 1940 gelatin silver print Memphis Brooks Museum of Art, Tennessee |
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| Horace Pippin Christ and the Woman of Samaria 1940 oil on canvas Barnes Foundation, Philadelphia |
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| Henry Moore Shelter Scene - Swathed Figures 1940 ink, chalk, crayon and watercolor on paper Manchester Art Gallery |
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| Bendik Riis Portrait of a Man 1940 oil on panel Lillehammer Kunstmuseum, Norway |
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| Arthur Dove Thunder Shower 1940 oil on canvas Amon Carter Museum, Fort Worth, Texas |
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| Diego Rivera Portrait of Dr Otto Ruhle 1940 oil on panel Dallas Museum of Art |
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| Edward Steichen Sunflowers 1940 dye imbibition print Art Institute of Chicago |
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| Unknown American Maker Beach Clogs 1940 wooden soles with cotton-braid straps Texas Fashion Collection, Denton |
from The Cave of Making
For this and for all enclosures like it the archetype
is Weland's Stithy, an antre
more private than a bedroom even, for neither lovers nor
maids are welcome, but without a
bedroom's secrets: from the Olivetti Portable,
the dictionaries (the very
best money can buy), the heaps of paper, it is evident
what must go on. Devoid of
flowers and family photographs, all is subordinate
here to a function, designed to
discourage day-dreams – hence windows averted from plausible
videnda but admitting a light one
could mend a watch by – and to sharpen hearing reached by an
outside staircase, domestic
noises and odors, the vast background of natural
life are shut off. Here silence
is turned into objects.
– W.H. Auden (1964)