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| Vesna Pavlović Christmas Sun inside the Chase One Plaza Building, Manhattan, New York 2003-2005 inkjet print Princeton University Art Museum |
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| Paul Winstanley Nostalgia 1 1999 oil on linen Southampton City Art Gallery, Hampshire |
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| Lorraine Barber A Taj Window ca. 1920-30 gelatin silver print National Gallery of Victoria, Melbourne |
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| Vilhelm Hammershøi Moonlight, Strandgade 30 ca. 1900-1906 oil on canvas Metropolitan Museum of Art, New York |
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| Vilhelm Hammershøi Interior: Sunlight on the Floor 1906 oil on canvas Tate Gallery |
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| attributed to Willem Drost Artist's Work Table ca. 1650-55 drawing British Museum |
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| Richard Diebenkorn Interior with View of the Ocean 1957 oil on canvas Phillips Collection, Washington DC |
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| Agostino Aglio Garret before 1857 watercolor on paper British Museum |
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| Percy Carpenter Window in the Duke's Drawing Room, Schloss Reinhardsbrunn 1842 oil on canvas Royal Collection, Great Britain |
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| Günther Förg Houses and Windows 1987 dye imbibition print Art Institute of Chicago |
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| William B. Dewey Interior, Officers' Quarters, Treasure Island Naval Station, San Francisco 2003 photograph Library of Congress, Washington DC |
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| Annie Hogan Comfort 2000 C-prints National Gallery of Victoria, Melbourne |
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| Henry Wessel Nightwalk, Los Angeles #22 1995 gelatin silver print Los Angeles County Museum of Art |
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| Joseph Mallord William Turner Petworth - Morning Light through Windows 1827 watercolor and gouache on paper Tate Gallery |
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| Charles Hodge Mackie An Interior, Venice 1914 oil on panel Hunterian Art Gallery, University of Glasgow |
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| Thomas Wijck Interior with Open Window before 1677 drawing Rijksmuseum, Amsterdam |
The Garret
Come let us pity those who are better off than we are.
Come, my friend, and remember
that the rich have butlers and no friends,
And we have friends and no butlers.
Come let us pity the married and the unmarried.
Dawn enters with little feet
like a gilded Pavlova,
And I am near my desire.
Nor has life in it aught better
Than this hour of clear coolness,
the hour of waking together.
– Ezra Pound (1913)
Pound here poses as the conventional impecunious artist of romance, inhabiting a "garret" full of love and laughter, while scorning the coarse materialism of the supposedly "friendless" bourgeoisie. This from a man whose rich parents never ceased supporting him financially – and who were undoubtedly paying the rent on this "garret" even as their darling only child composed hymns to the nobility of his own non-existent poverty.