Carré

attributed to Jan Lievens
Portrait of a Man
(possible self portrait)
ca. 1625
drawing
Ashmolean Museum, Oxford

Agnes Martin
Wheat
1957
oil on linen
San Francisco Museum of Modern Art

Adrien Ysenbrandt
Virgin of the Seven Sorrows
1521
oil on panel (half of diptych)
Musées Royaux des Beaux-Arts, Brussels

Andy Warhol
Portrait of Marion Bloch
1975
screenprint on canvas
Nelson-Atkins Museum of Art, Kansas City, Missouri

Arthur Tress
Del Webb's TowneHouse, Eighth & Market, San Francisco
1964
gelatin silver print
Achenbach Foundation, Fine Arts Museums of San Francisco

Irving Penn
The Bath
1967
gelatin silver print
Achenbach Foundation, Fine Arts Museums of San Francisco

Alison Watt
Moon
2014
oil on canvas
City Art Centre, Edinburgh

Simone Mantellassi
Selected Works from the series Otto
2006-2007
ink, pastel, colored pencil, marker and acrylic
on matte-board, paper, canvas, wood and cardboard
Buffalo AKG Art Museum, New York

Yutaka Matsuzawa
Untitled
ca. 1960-63
cut-paper collage
Museum of Modern Art, New York

Jenny Holzer
Untitled
(series, Inflammatory Essays)
ca. 1979-82
offset-lithograph
Loeb Art Center, Vassar College, Poughkeepsie, New York

Josef Albers
Homage to the Square: Broad Call
1967
oil on panel
Museum of Modern Art, New York

Paul Huxley
Untitled no. 104
1969
acrylic on canvas
Buffalo AKG Art Museum, New York

Daryl Trivieri
Neo-Bio-Genesis
1986
oil and acrylic on canvas
Memphis Brooks Museum of Art, Tennessee

Andrea di Giusto
The Crucifixion
ca. 1430-40
detached fresco
Museo dell'Opera di Santa Croce, Florence

Philipp Veit
Joseph and Potiphar's Wife
1816
detached fresco (from Casa Bartholdy in Rome)
Alte Nationalgalerie, Staatliche Museen zu Berlin

Tizianello (Tiziano Vecellio)
Allegory
before 1650
oil on canvas
Gallerie dell'Accademia, Venice

attributed to Simon Peter Tilemann
Card Players
ca. 1620-30
oil on canvas
Musée de Cambrai

from Naming of Parts

To-day we have naming of parts. Yesterday,

We had daily cleaning. And to-morrow morning,

We shall have what to do after firing. But to-day,

To-day we have naming of parts. Japonica

Glistens like coral in all the neighbouring gardens,

            And to-day we have naming of parts.

This is the lower sling swivel.  And this

Is the upper sling swivel, whose use you will see,

When you are given your slings. And this is the piling swivel,

Which in your case you have not got. The branches

Hold in the gardens their silent, eloquent gestures,

            Which in our case we have not got. 

This is the safety-catch, which is always released

With an easy flick of the thumb. And please do not let me

See anyone using his finger. You can do it quite easy

If you have any strength in your thumb. The blossoms

Are fragile and motionless, never letting anyone see

            Any of them using their finger. 

– Henry Reed (1942)