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| Max Weber Slide Lecture (on Giotto) at the Metropolitan Museum 1916 pastel Metropolitan Museum of Art, New York |
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| Mario Sironi Metaphysical Figure 1917 tempera and gouache on paper Estorick Collection of Modern Italian Art, London |
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| Frances Hodgkins Loveday and Ann: Two Women with a Basket of Flowers 1915 oil on canvas Tate Gallery |
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| Marsden Hartley Arrangement – Hieroglyphics – Painting No. 2 1914 oil on canvas Museum of Fine Arts, Boston |
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| Marsden Hartley Military 1913 oil on canvas Wadsworth Atheneum, Hartford, Connecticut |
"The paintings of Marsden Hartley's youth show us how an American painter of the first quarter of this century struggled to educate himself in defiance of provincial limitations of time and place. . . . I myself value them for their clumsiness and the sincerity of their failures almost as much as for the rightness of their successes. There are and have been greater painters than Hartley, but few whose sentiment I value more. Sentiment is a dangerous term nowadays, but I dare to insist on it as something that means the valuable, very valuable, when referred to an artist as sincere and true as he was."
– Clement Greenberg, from Foreword to an Exhibition of Marsden Hartley and Alfred Maurer at the Bertha Schaefer Gallery, New York, November-December 1950
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| Vilhelm Hammershøi Landscape from Lejre 1905 oil on canvas Nationalmuseum, Stockholm |
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| Vilhelm Hammershøi Royal Palace Church in Copenhagen 1910 oil on canvas Nationalmuseum, Stockholm |
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| Giorgio de Chirico La Maladie du Général 1914-15 oil on canvas Wadsworth Atheneum, Hartford, Connecticut |
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| Giorgio de Chirico The Endless Voyage 1914 oil on canvas Wadsworth Atheneum, Hartford, Connecticut |
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| George Bellows Emma in the Black Print 1919 oil on canvas Museum of Fine Arts, Boston |
"What counts first and last in art is whether it is good or bad. Everything else is secondary. No one has yet been able to show that the representational as such either adds or takes away anything from the aesthetic value of a picture or statue. That a work is or is not representational no more determines its value as art than the presence or absence of a libretto does in the case of a musical score. No single element or aspect of a work of art autonomously determines its value as a whole. How much any part is worth aesthetically is decided solely by its relation to every other part or aspect of the given work. . . . It is granted that a recognizable image will add anecdotal, historical, psychological or topographical meaning. But to fuse this into aesthetic meaning is something else; that a painting gives us things to recognize and identify in addition to a complex of colors and shapes to feel does not mean invariably that it gives us more as art. More and less in art do not depend on how many different categories of significance we apprehend, but on how intensely and largely we feel the art – and what that consists in we are never able to define with real precision."
– Clement Greenberg, from Abstract and Representational, originally delivered as the Ryerson Lecture, School of Fine Arts, Yale University, May 1954
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| Max Liebermann Rider on the Beach 1911 oil on canvas Nationalmuseum, Stockholm |
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| Raphael Kirchner Lélie, Opium Smoker ca. 1915-16 lithograph Museum of Fine Arts, Boston |
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| Nico Jungman Rujleben Prison Camp: Bathing 1918 tempera on paper Imperial War Museums, London |