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| Gabriele Münter Self Portrait ca. 1908 oil on cardboard Museo Thyssen-Bornemisza, Madrid |
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| Lovis Corinth Family of painter Fritz Rumpf 1901 oil on canvas Alte Nationalgalerie, Berlin |
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| Arthur Kampf The Artist 1907 oil on canvas Alte Nationalgalerie, Berlin |
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| Ludwig von Hofmann Die Quelle (The Spring) 1913 oil on canvas Thomas Mann Archive, Zürich |
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| Ludwig von Hofmann Narcissus ca. 1900 oil on canvas National Museum, Warsaw |
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| Max Pechstein The Bathers 1912 oil on canvas Museo Thyssen-Bornemisza, Madrid |
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| Otto Müller Two Nudes in Landscape ca. 1922 oil on burlap Museo Thyssen-Bornemisza, Madrid |
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| Ernst Neuschul Messias 1919 oil on card New Walk Museum and Art Gallery, Leicester |
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| Max Beckmann Quappi in Pink Jumper 1932-34 oil on canvas Museo Thyssen-Bornemisza, Madrid |
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| Erich Heckel Before the Red Curtain 1912 watercolor Museo Thyssen-Bornemisza, Madrid |
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| Georg Tappert Varieté 1911 oil on canvas Museo Thyssen-Bornemisza, Madrid |
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| Ernst Ludwig Kirchner Street Scene 1926 oil on canvas Milwaukee Art Museum |
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| Ernst Ludwig Kirchner Woman at a Mirror ca. 1913-20 oil on canvas Musée d'Art Moderne de Paris |
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| Ernst Ludwig Kirchner Wrestlers 1909 oil on canvas Cleveland Museum of Art, Ohio |
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| Oskar Schlemmer Formation. Tri-partition 1926 watercolor Museo Thyssen-Bornemisza, Madrid |
1892-1941
To be moved comes of want, though want be complete
as understanding. Cast, the statue rests, stopped:
a bronze – not "Grief" – the drapery should take in
body and head. The working eyes discarded.
Characterless lips, straight nose, sight, form no clue
(are none too great sculpture) to portrait or you.
At the seat of government, but a cab's jaunt
from the evergreens raised about the statue,
people count, climb the steps of the Capitol.
Shrubs, close to hands, that age at the visitor's
curved bench derive no clue from its smooth stone or
its simplicity or animal foot ends.
Nor shows the headstone back of the figure's seat
more than a blank emblem of two wreaths entwined,
bare in Eighteen Ninety Two, of our country.
Dark forearms not draped, hand modelled to the chin:
a lady of Nineteen Forty One met by
chance, asked where you could be found, took us three here,
left quickly, said, "The two of them lie there"
(I am one alive while two see here with me)
under the circle of purposeful gravel
feet must skirt or cross to come near the figure
over the gravel as on no other plot, in
"the cemetery known as Rock Creek": the name
gravel, those under. "One's instinct abhors time."
– Louis Zukofsky (1942)
(Zukofsky is describing a visit to the Adams Memorial at Rock Creek Cemetery in Washington DC. Augustus Saint-Gaudens (1848-1907) created an androgynous seated mourning figure for the grave of Clover Adams (1843-1885) who died by suicide. The monument was commissioned by her husband, historian Henry Adams (1838-1918), who was ultimately interred beneath it as well, and whose writings had strongly attracted the young Zukofsky.)