Pattern Making

Antonio Lombardo
Inscription supported by Eagles
1508
marble relief panel
Liechtenstein Museum, Vienna

Jacopo del Giallo
Descent from the Cross
ca. 1525
pigment on vellum
(cutting from Missal of Pope Clement VII de' Medici)
Fitzwilliam Museum, Cambridge

Hans Rogel
Design for Calligraphic Capitals
1568
woodcut
Museum für Angewandte Kunst, Vienna

Humphrey Prideaux
Double-page spread with texts of Greek and Latin Inscriptions
from Marmora Oxoniensia Arundellianis
1676
printed book
Staatsbibliothek, Bamberg

Sèvres Manufactory
Gobelet Litron
1784
porcelain with gold paillons and enamel jeweling
Fitzwilliam Museum, Cambridge

Johann Conrad Bromeis
Design for Neoclassical Decoration
Dining Salon, Rotes Palais, Kassel
ca. 1828
watercolor on paper
Graphische Sammlung, Museumslandschaft Hessen-Kassel

Eduard Hildebrandt
Street in Canton
1863
watercolor on paper
Kupferstichkabinett, Staatliche Museen zu Berlin

Anonymous Swiss Printmakers
Proof-Sheet with 32 Postcards reproducing Paintings by Swiss Artists
ca. 1900
collotype
Graphische Sammlung, Zentralbibliothek, Zürich

Richard Teschner
Der Merker
(magazine)
1910
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Gabriele Münter
Forest Path
ca. 1910-20
oil on glass
Moderna Museet, Stockholm

Karl Wagner
Stag
1912
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Amedeo Modigliani
Boy in Short Pants
1918
oil on canvas
Dallas Museum of Art

Otto Lange
Exhibition of Dresden Art
1925
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Jean Dunand
Firescreen
1926
enameled wood
Musées d'Art et d'Histoire, Genève

Gerhard Richter
SAID
1983
oil on canvas
Harvard Art Museums

Gülsün Karamustafa
Shrine on Line
2011
assemblage
(fiberglass columns, porcelain figures)
Institut Valencià d'Art Modern

Antony 

     Go? Whither? Go from all that's excellent?

     Faith, honour, virtue, all good things forbid

     That I should go from her who sets my love

     Above the price of kingdoms. Give, you gods,

     Give to your boy, your Caesar,

     This rattle of a globe to play withal,

     This geegaw world, and put him cheaply off:

     I'll not be pleased with less than Cleopatra.

Cleopatra

     She's wholly yours. My heart's so full of joy

     That I shall do some wild extravagance

     Of love in public, and the foolish world,

     Which knows not tenderness, will think me mad.

Ventidius

     Oh women! Women! Women! All the gods

     Have not such power of doing good to man

     As you of doing harm.

Antony                             Our men are armed.

     Unbar the gate that looks to Caesar's camp.

     I would revenge the treachery he meant me,

     And long security makes conquest easy.

     I'm eager to return before I go,

     For all the pleasures I have known beat thick

     On my remembrance. How I long for night!

        That both the sweets of mutual love may try,

        And once triumph o'er Caesar ere we die.             (Exeunt)    

– John Dryden, All for Love (1677)