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| Ruth Orkin Hollywood Party, with Lana Turner and Fernando Lamas 1952 gelatin silver print Art Institute of Chicago |
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| Jackson Pollock No. 2-A 1952 oil on canvas, mounted on panel McNay Art Museum, San Antonio, Texas |
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| James Brooks K-1952 1952 oil on canvas Dallas Museum of Art |
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| Elaine De Kooning Double Portrait of Selima Stavola 1952 oil on canvas NSU Art Museum, Fort Lauderdale, Florida |
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| Robert Frank Paris 1952 gelatin silver print Art Institute of Chicago |
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| Philip Kouwen Studio Wall 1952 oil on paper Dordrechts Museum, Netherlands |
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| Agnes Martin Winter Yellow 1952 watercolor on paper Seattle Art Museum |
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| Rollie McKenna Caitlin and Dylan Thomas, Millbrook, New York 1952 gelatin silver print Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Rollie McKenna Carnegie Hall, New York City 1952 gelatin silver print Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Henry Moore Study for Time-Life Frieze 1952 bronze Walker Art Center, Minneapolis |
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| Robert Motherwell Île de France 1952 watercolor and ink on paper North Carolina Museum of Art, Raleigh |
-1952-oil-on-canvas-McNay-Art-Museum-San-Antonio-Texas.jpg) |
| Ben Nicholson Jan 3 52 (Cromlech) 1952 oil on canvas McNay Art Museum, San Antonio, Texas |
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| Grace Robertson The Connoisseur, Tate Gallery 1952 gelatin silver print Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Charley Toorop Fruit and Autumn Leaves 1952 oil on panel Kunstmuseum, The Hague |
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| Co Westerik Bus at Night 1952 oil on canvas Kunstmuseum, The Hague |
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| Co Westerik Woman in Labor 1952 oil and tempera on canvas, mounted on panel Kunstmuseum, The Hague |
from Dichtung und Wahrheit (An Unwritten Poem)
XXVII
The I-feeling: a feeling of being-responsible-for. (It cannot accompany a verb in the passive.) I wake in the morning with a violent headache and cry Ouch! This cry is involuntary and devoid of I-feeling. Then I think – "I have a hangover"; some I-feeling accompanies this thought – the act of locating and identifying the headache is mine – but very little. Then I think – "I drank too much last night." Now the I-feeling is much stronger. I could have drunk less. A headache has become my hangover, an incident in my personal history. (I cannot identify my hangover by pointing to my head and groaning, for what makes it mine is my past act and I cannot point to myself yesterday.)
XXVIII
The You-feeling: a feeling of attributing-responsibility-to. If, when I think You are beautiful, this thought is accompanied by the You-feeling, I mean that I hold you responsible, in part at least, for your physical appearance; it is not merely due to a lucky combination of genes.
XXIX
Common to both the I- and the You-feeling: a feeling of being-in-the-middle-of-a-story. I cannot think I love You without including the thoughts I have already loved You (if only for a moment) and I shall still love You (if only for a moment). If therefore, I attempt, as I should like to do in this poem, to express what I mean by this thought, I turn myself into a historian, faced with a historian's problems. Of the documents at my disposal (memories of myself, or You, of what I have heard on the subject of love), some have probably been doctored, some may even be downright forgeries; where I have no documents, I cannot tell if this is because they never existed or because they have been lost or hidden and, if so, what difference it would make to my historical picture if they could be recovered. Even were I gifted with total recall, I should still be faced with the task of interpreting them and assessing their relative importance.
– W.H. Auden (1959)