 |
| Gustave Caillebotte Portrait of a Woman 1882 oil on canvas Seattle Art Museum |
 |
| Gustave Caillebotte The Seine at Argenteuil ca. 1892 oil on canvas Clark Art Institute, Williamstown, Massachusetts |
 |
| Gustave Caillebotte The Yellow Boat 1891 oil on canvas Norton Simon Museum, Pasadena, California |
-Dallas-Museum-of-Art.jpg) |
| Caillebotte-Gustave- Yellow Roses in a Vase 1882 oil on canvas (originally owned by Edgar Degas) Dallas Museum of Art |
 |
| Thomas Gainsborough Landscape in Suffolk 1748 oil on canvas Kunsthistorisches Museum, Vienna |
 |
| Thomas Gainsborough Portrait of Clement Tudway 1773 oil on canvas North Carolina Museum of Art, Raleigh |
-Frick-Collection-New-York.png) |
| Thomas Gainsborough Portrait of Grace Dalrymple Elliott ca. 1782 oil on canvas Frick Collection, New York |
 |
| Thomas Gainsborough Portrait of Lady Anne Hamilton ca. 1778 oil on canvas Detroit Institute of Arts |
 |
| Juan Gris Seated Harlequin 1920 oil on canvas Los Angeles County Museum of Art |
 |
| Juan Gris Still Life with Bottle of Bordeaux 1919 oil on canvas Denver Art Museum |
 |
| Juan Gris Still Life with Poem 1915 oil on canvas Norton Simon Museum, Pasadena, California |
 |
| Juan Gris Verre sur une Table 1916 oil on canvas Denver Art Museum |
-1976-A-cut-paper-collage-McNay-Art-Museum-San-Antonio-Texas.jpg) |
| Robert Indiana Design of Processional Float for the Santa Fe production of The Mother of Us All (opera by Virgil Thomson and Gertrude Stein) 1976 cut-paper collage McNay Art Museum, San Antonio, Texas |
-1976-B-cut-paper-collage-McNay-Art-Museum-San-Antonio-Texas.jpg) |
| Robert Indiana Design of Processional Float for the Santa Fe production of The Mother of Us All (opera by Virgil Thomson and Gertrude Stein) 1976 cut-paper collage McNay Art Museum, San Antonio, Texas |
 |
| Robert Indiana Eternal Hexagon 1964 screenprint Fralin Museum of Art, Charlottesville, Virginia |
 |
| Robert Indiana Leaves 1965 oil on canvas McNay Art Museum, San Antonio, Texas |
from Part Two of The Age of Anxiety
Malin went on, spoke of the Fifth Age:
In peace or war,
Married or single, he muddles on,
Married or single, he muddles on,
Offending, fumbling, falling over,
And then, rather suddenly, there he is
Standing up, an astonished victor
Gliding over the good glib waters
Of the social harbor to set foot
On its welcoming shore where at last
Recognition surrounds his days with
Her felicitous light. He likes that;
He fairly blooms; his fever almost
Relaxes its hold. He learns to speak
And then, rather suddenly, there he is
Standing up, an astonished victor
Gliding over the good glib waters
Of the social harbor to set foot
On its welcoming shore where at last
Recognition surrounds his days with
Her felicitous light. He likes that;
He fairly blooms; his fever almost
Relaxes its hold. He learns to speak
Softer and slower, not to seem so eager;
His body acquires the blander motions
Of the approved state. His positive glow
Of fiscal health affects that unseen
Just judge, that Generalized Other
To whom he thinks and is understood by,
Who grows less gruff as if gravely impressed
By his evident air of having now
Really arrived, bereaved of every
Of the approved state. His positive glow
Of fiscal health affects that unseen
Just judge, that Generalized Other
To whom he thinks and is understood by,
Who grows less gruff as if gravely impressed
By his evident air of having now
Really arrived, bereaved of every
Low relation.
– W.H. Auden (1944-46)