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| Ruth Bernhard Spanish Dancer 1971 gelatin silver print Princeton University Art Museum |
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| Henri Boutet Dans les Coulisses 1897 lithograph British Museum |
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| Paul Cadmus Two Dancers Resting 1935 lithograph Yale University Art Gallery |
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| John Craxton The Dancer 1951 oil on canvas Jerwood Collection, London |
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| Cowan Pottery Studio, Ohio Dancing Woman 1927 mold-made ceramic Cleveland Museum of Art, Ohio |
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| Georges Tonnellier Dancer ca. 1925-30 glass Chrysler Museum of Art, Norfolk, Virginia |
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| Clarence H. White Dancers, Barnard Greek Games 1922 palladium print Princeton University Art Museum |
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| Minor White George Jack, San Francisco 1949 gelatin silver print Princeton University Art Museum |
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| Josef Herman Blue Costume for Ballet of the Palette 1942 oil on paper Glasgow Museums, Scotland |
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| Roy Parsons Three Dancers Resting, Members of the Dorchester Ballet Club 1958 oil on board Dorset County Museum, Dorchester |
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| Hans Heinrich Palitzsch Dore Hoyer Dancing 1952 distemper on paper Gemäldegalerie, Dresden |
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| Herman Mishkin Anna Pavlova ca. 1913-23 gelatin silver print New York Public Library |
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| Adrian Allinson Vaslav Nijinsky in L'Après-midi d'un Faune 1915 gouache on paper (template for plywood cutout) Victoria & Albert Museum, London |
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| Vera Willoughby (designer) Vaslav Nijinsky in Le Spectre de la Rose ca. 1925 painted plywood cut-out Victoria & Albert Museum, London |
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| Vera Willoughby (designer) Tamara Karsavina in Le Spectre de la Rose ca, 1925 painted plywood cut-out Victoria & Albert Museum, London |
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| George Barbier Vaslav Nijinsky in L'Après-midi d'un Faune 1913 halftone reproduction of drawing (book illustration) Victoria & Albert Museum, London |
from The Man Without a Country
Into every world walks the perfect being
once. Roman candles are his hautboys
and big things like pigeons and horses
float to his feet, pretending they are motes
in the sun. He's no Saint Francis though,
and his trip could not be called anabasis
just because he occasionally wears a beard.
There is that about him which does not meet
the eye, but he is obviously as pure and fierce
as electricity. Even ignorance loves
his motives.
– Frank O'Hara (1926-1966)