Gertrude Käsebier

Alvin Langdon Coburn
Portrait of Gertrude Käsebier
ca. 1904
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Mother with Baby in Cradle
ca. 1905
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Mrs R. nursing Baby
ca. 1905
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Mrs. Turner and Two Children
ca. 1900
gum bichromate print
National Museum of American History, Washington DC

Gertrude Käsebier
Mother and Child
ca. 1900
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Girl with Mirror
ca. 1910
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Caroline Caffin
1905
platinum print
Archives of American Art, Washington DC

Gertrude Käsebier
Florentine Boy
1899
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Two Bulls
(Dakota Sioux hired as performer
with Buffalo Bill's Wild West Show)
ca. 1898
platinum print
National Museum of American History,
Washington DC

Gertrude Käsebier
Zitkala-Sa
(Dakota Sioux hired as performer
with Buffalo Bill's Wild West Show)
ca. 1898
platinum print
National Museum of American History,
Washington DC

Gertrude Käsebier
Baron Adolf de Meyer at Newport
ca. 1900
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
F. Holland Day at Newport
1903
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Chester Beach (sculptor)
ca. 1908
platinum print
Archives of American Art, Washington DC

Gertrude Käsebier
George Luks (painter)
ca. 1900
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
Joaquin Sorolla y Bastida (painter)
ca. 1911
platinum print
National Museum of American History, Washington DC

Gertrude Käsebier
John Sloan (painter)
ca. 1907
platinum print
National Portrait Gallery, Washington DC

Gertrude Käsebier
Self Portrait
ca. 1910
platinum print
National Museum of American History, Washington DC

from Metamorphoses

Ye Elves of hils, brooks, standing lakes and groves,

And ye, that on the sands with printlesse foote

Doe chase the ebbing Neptune, and do flie him

When he comes backe: you demy-Puppets, that

By Moone-shine doe the greene sowre Ringlets make,

Whereof the Ewe not bites: and you, whose pastime

Is to make midnight Mushrumps, that rejoyce

To heare the solemne Curfewe, by whose ayde

(Weake Masters though ye be) I have bedymn'd

The Noone-tide Sun, call'd forthe the mutenous windes,

And twixt the greene Sea, and the azur'd vault

Set roaring warre: To the dread ratling Thunder

Have I given fire, and rifted Joves stowt Oke

With his owne Bolt: The strong bass'd promontorie

Have I made shake, and by the spurs pluckt up

The Pyne, and Cedar.  Graves at my command

Have wak'd their sleepers, op'd, and let 'em forth

By my so potent Art.

– Ovid (43 BC-AD 17), adapted by William Shakespeare (1612)

(Medea's invocation in Ovid becomes Prospero's in The Tempest)

Hans Hammarskiöld

Hans Hammarskiöld
Composition
1948
gelatin silver print
Moderna Museet, Stockholm

Hans Hammarskiöld
Untitled
1948
gelatin silver print
Moderna Museet, Stockholm

Hans Hammarskiöld
May Day
1952
gelatin silver print
Moderna Museet, Stockholm

Hans Hammarskiöld
Fulham Cemetery, London
1955
gelatin silver print
Moderna Museet, Stockholm

Hans Hammarskiöld
Caroline
1955
gelatin silver print
Moderna Museet, Stockholm

Hans Hammarskiöld
Claes Oldenburg, London
1966
gelatin silver print
Moderna Museet, Stockholm

Hans Hammarskiöld
Erik Höglund
1967
gelatin silver print
Moderna Museet, Stockholm

Hans Hammarskiöld
Hepaticas
1975
C-print
Moderna Museet, Stockholm

Hans Hammarskiöld
Untitled
1976
C-print
Moderna Museet, Stockholm

Hans Hammarskiöld
Hamra, Gotland
1977
C-print
Moderna Museet, Stockholm

Hans Hammarskiöld
Bastugatan, Stockholm
1980
C-print
Moderna Museet, Stockholm

Hans Hammarskiöld
Meret Oppenheim
1982
gelatin silver print
Moderna Museet, Stockholm

Hans Hammarskiöld
Mariaberget, Stockholm
1985
C-print
Moderna Museet, Stockholm

Hans Hammarskiöld
Erica
1987
gelatin silver print
Moderna Museet, Stockholm

Hans Hammarskiöld
Vila II
1994
gelatin silver print
Moderna Museet, Stockholm

Hans Hammarskiöld
Untitled
2002
gelatin silver print
Moderna Museet, Stockholm

Hans Hammarskiöld
Untitled
2002
gelatin silver print
Moderna Museet, Stockholm

Ode Ten, Book Two

Of thy lyfe, Thomas, this compasse well mark:

Not aye with full sayles the hye seas to beat,

Ne by coward dred, in shonning stormes dark,

On shalow shores thy keel in perill freat.

Who so gladly halseth the golden meane

Voyde of dangers advisdly hath his home:
Nor with lothsom muck, and a den uncleane,

Nor palacelyke wherat disdayn may glome.

The lofty pyne the great winde often rives;

With violenter sway falne turrets stepe;

Lightninges assault the hye mountains and clives.

A hart well stayd, in overthwartes depe,

Hopeth amendes; in swete doth feare the sowre,

God that sendeth withdrawth winter sharp.

Now ill, not aye thus. Once Phebus to lowr

With bow unbent shall cease, and frame to harp

His voyce. In straite estate appere thou stout:

And so wisely, when lucky gale of winde

All thy puft sailes shall fill, loke well about,

Take in a ryft. Hast is wast, profe doth finde. 

– Horace (65-8 BC), translated by Henry Howard, Earl of Surrey (before 1547)

Fairfield Porter

Fairfield Porter
Dirigo Island (Butter Island)
ca. 1950
watercolor on paper
New Britain Museum of American Art, Connecticut

Fairfield Porter
Katie
1953
oil on canvas
Princeton University Art Museum

Fairfield Porter
Katie and Anne
1955
oil on canvas
Hirshhorn Museum, Washington DC

Fairfield Porter
Boy Reading
1955
oil on canvas
Princeton University Art Museum

Fairfield Porter
Still Life with Casserole
1955
oil on canvas
Smithsonian American Art Museum, Washington DC

Fairfield Porter
Portrait of Ted Carey and Andy Warhol
1960
oil on linen
Whitney Museum of American Art, New York

Fairfield Porter
Chrysanthemums under a Blue Sky
1961
oil on canvas
Whitney Museum of American Art, New York

Bill Yoscary
Fairfield Porter and poet Kenneth Koch (with drink)
ca. 1962
gelatin silver print
Archives of American Art, Smithsonian Institution, Washington DC

Fairfield Porter
Figures in Interior
1963
watercolor on paper
Whitney Museum of American Art, New York

Fairfield Porter
July Interior
1964
oil on canvas
Hirshhorn Museum, Washington DC

Fairfield Porter
The Screen Porch
1964
oil on canvas
Whitney Museum of American Art, New York

Fairfield Porter
The Mirror
1966
oil on canvas
Nelson-Atkins Museum of Art, Kansas City, Missouri

Fairfield Porter
Study for the Silkscreen Interior
ca. 1967
watercolor on paper
Art Institute of Chicago

Fairfield Porter
Forsythia and Pear in Bloom
1968
oil on canvas
Smithsonian American Art Museum, Washington DC

Fairfield Porter
Green Girl
1971
lithograph
Whitney Museum of American Art, New York

Fairfield Porter
Late Afternoon Snow
1972
oil on paper, mounted on panel
Phillips Collection, Washington DC

Fairfield Porter
Snow, South Main Street
ca. 1972
oil on paper, mounted on panel
Phillips Collection, Washington DC

Fairfield Porter
Ocean II
1975
lithograph
Cincinnati Art Museum, Ohio

from The Friend of the Fourth Decade

"Listen," he went on, "I have this friend –

What's that face for? Did you think I had only one?

You are my oldest friend, remember. Well:

Karlheinrich collects stamps. I now spend mornings

With a bowl of water and my postcard box.

Cards from all over. God! Those were the years

I never used to throw out anything.

Each card then soaks five minutes while its ink

Turns to exactly the slow formal swirls

Through which a phoenix flies on Chinese silk.

These leave the water darker but still clear,

The text unreadable. It's true!

Cards from my mother, my great-uncle, you!

And the used waters deepen the sea's blue.

I cannot tell you what this does to me.

Scene upon scene's immersion and emergence

Rinsed of the word. The Golden Gate, Moroccan

Dancing boys, the Alps from Interlaken,

Fuji, the Andes, Titian's Venus, two

Mandrills from the Cincinnati zoo –

All that survives the flood, as does a lighter

Heart than I have had in many a day.

Salt lick big as a fist, heart, hoard

Of self one grew up prizing above rubies –

To feel it even by a grain dissolved,

Absolved I mean, recipient with writer,

By water holy from the tap, by air that dries,

Of having cared and having ceased to care . . ."

– James Merrill (1969)