Renaissance Marbles photographed by Clarence Kennedy

Clarence Kennedy
Angel
(Abbazia di San Miniato al Monte, Florence)
1933
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Angel bearing Crown
(Abbazia di San Miniato al Monte, Florence)
1933
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Lion Head supporting Angel
(Abbazia di San Miniato al Monte, Florence)
1933
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Cornice
(Basilica di San Lorenzo, Florence)
1929
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Figure supporting Candelabrum
(Basilica di San Lorenzo, Florence)
11929
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Frieze
(Basilica di San Lorenzo, Florence)
1929
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Keystone of Arch
(Basilica di San Lorenzo, Florence)
1929
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Pilaster
(Basilica di San Lorenzo, Florence)
1929
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Pilaster Base
(Basilica di San Lorenzo, Florence)
1929
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Angel
(Cattedrale di San Zeno, Pistoia)
1932
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Angel Wing
(Cattedrale di San Zeno, Pistoia)
1932
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Foot of Christ the Redeemer
(Cattedrale di San Zeno, Pistoia)
1932
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Figure of Hope
(Cattedrale di San Zeno, Pistoia)
1932
gelatin silver print
Princeton University Art Museum

Clarence Kennedy
Figure of Hope - Veil and Wing
(Cattedrale di San Zeno, Pistoia)
1932
gelatin silver print
Princeton University Art Museum

"Trained as both an art historian and a photographer, Clarence Kennedy (1892-1972) cautioned that "the photographer dare not allow himself to use the sculpture for spectacular effects of his own invention.  . . .  He is not creating something of his own."  

He began to experiment with lighting and photographing sculpture while a student at the American School in Athens. Returning to the United States, he took a position in 1916 teaching art history at Smith College, where he remained for forty-four years.  During this time Kennedy taught photography and made photographs, producing eight volumes of The History and Criticism of Sculpture to be used as teaching aids at Smith." 

– from biographical notes at the Getty Museum, Los Angeles

Sutherland - Robert - Amor - Cantarini

Graham Sutherland
Study of Helena Rubinstein
1956
gouache, charcoal and ink on paper
Beaverbrook Art Gallery, Fredericton, New Brunswick

Graham Sutherland
Study of Helena Rubinstein
1956
gouache, charcoal and ink on paper
Beaverbrook Art Gallery, Fredericton, New Brunswick

Graham Sutherland
Study of Churchill, Grey Background
1954
oil on canvas
Beaverbrook Art Gallery, Fredericton, New Brunswick

Graham Sutherland
Study of Churchill in Garter Robes
1955
oil on canvas
Beaverbrook Art Gallery, Fredericton, New Brunswick

Hubert Robert 
Ancient Bridge on River in Flood
ca. 1780
oil on canvas
Musée d'Art et d'Archéologie du Périgord

Hubert Robert
Capriccio with the Pantheon before the Porto di Ripetta, Rome
1761
oil on canvas
Liechtenstein Museum, Vienna

Hubert Robert after Luca Giordano
Christ driving the Money-changers from the Temple
ca. 1760
drawing (compositional study)
Kupferstichkabinett, Staatliche Museen zu Berlin

Hubert Robert
Study for Massacre of the Innocents
1796
drawing
Crocker Art Museum, Sacramento, California

Rick Amor
Study for Running Man
1983
gouache on paper
Heide Museum of Modern Art, Bulleen, Australia

Rick Amor
Waiter
2012
lithograph
Art Gallery of South Australia, Adelaide

Rick Amor
No. 7
2012
lithograph
Art Gallery of South Australia, Adelaide

Rick Amor
Across History
2001
lithograph
Art Gallery of South Australia, Adelaide

Simone Cantarini (il Pesarese)
Adam and Eve
ca. 1630
etching
Rhode Island School of Design, Providence

Simone Cantarini (il Pesarese)
God the Father
before 1648
drawing
Clark Art Institute, Williamstown, Massachusetts

Simone Cantarini (il Pesarese)
Holy Family
before 1648
drawing
Städel Museum, Frankfurt

Simone Cantarini (il Pesarese)
Holy Family with young St John the Baptist
ca. 1642
oil on canvas
Galleria Borghese, Rome

from The Sea and the Mirror

[Prospero to Ariel]:

Sing, Ariel, sing,
Sweetly, dangerously
Out of the sour
And shiftless water,
Lucidly out
Of the dozing tree,
Entrancing, rebuking
The raging heart
With a smoother song
Than this rough world,
Unfeeling god.

O brilliantly, lightly,
Of separation,
Of bodies and death,
Unanxious one, sing
To man, meaning me,
As now, meaning always,
In love or out,
Whatever that mean,
Trembling he takes
The silent passage
Into discomfort.

– W.H. Auden (1942-44)

Carven Heads

Ancient Celtic Culture
Head
(object of veneration within a shrine)
AD 100-300
sandstone
Cleveland Museum of Art, Ohio

Anonymous British Artist
Head of a Bishop
(fragment of choir stall)
14th-15th century
oak
Philadelphia Museum of Art

Anonymous German Artist
Towel Holder with Fool and Old Woman
ca. 1520-25
carved and painted oak
(pole missing)
Victoria & Albert Museum, London

Anonymous German Artist
Vanitas Head
ca. 1600-1650
ivory
Kunsthistorisches Museum, Vienna

Anonymous French Artist
Head of an Apostle
ca. 1210
limestone
(detached from Notre Dame Cathedral
during the French Revolution)
Art Institute of Chicago

Anonymous French Artist
Head of King David
ca. 1145
limestone
(detached from Notre Dame Cathedral
during the French Revolution)
Metropolitan Museum of Art, New York

Giovanni Pisano
Prophet Haggai
ca. 1285-97
marble
(fragment of full-length statue
from façade of Siena Cathedral)
Victoria & Albert Museum, London

Anonymous French Artist
Head of Christ
ca. 1700
marble relief
Detroit Institute of Arts

Louis-François Roubiliac
Portrait Bust of Alexander Pope
1741
marble
Yale Center for British Art

Joseph Anton Feuchtmayer
Head of an Angel
ca. 1750
carved, painted and gilded wood
Cleveland Museum of Art, Ohio

William Rush
Bust of Linnaeus
ca. 1812
carved and painted pine
National Gallery of Art, Washington DC

Jacob Epstein
Mrs Emily Chadbourne
1910
alabaster
Tate Gallery

Edward Lanteri
The Sacristan
1917
stone
Tate Gallery

William Theed
Personification of Autumn
1856
marble
(purchased by Queen Victoria)
Royal Collection, Great Britain

William Theed
Personification of Spring
1856
marble
(purchased by Queen Victoria)
Royal Collection, Great Britain

from Variations done for Gerald Van De Wiele

I. Le Bonheur

dogwood flakes 
what is green

the petals

from the apple

blow on the road

mourning doves

mark the sway

of the afternoon, bees

dig the plum blossoms

the morning

stands up straight, the night

is blue from the full of the April moon

iris and lilac, birds

birds, yellow flowers

white flowers . . .

– Charles Olson (1956)

Maes - Scully - Sievers - Goya

Nicolaes Maes
Portrait of Agatha Bicker
(wife of Dirck Frederiksz Alewijn)
ca. 1675
oil on panel
Norton Simon Museum, Pasadena, California

Nicolaes Maes
Portrait of Dirck Frederiksz Alewijn
(husband of Agatha Bicker)
ca. 1675
oil on panel
Norton Simon Museum, Pasadena, California

Nicolaes Maes
Portrait of a Woman
ca. 1680-90
oil on canvas
Art Gallery of South Australia, Adelaide

Nicolaes Maes
Self Portrait at age 22
1656
oil on panel
Agnes Etherington Art Centre, Kingston, Ontario

Sean Scully
Wall of Light, Peru
2000
oil on canvas
North Carolina Museum of Art, Raleigh

Sean Scully
Colored Stacked Frames
2017
painted stainless steel
New Orleans Museum of Art

Sean Scully
Doric Yellow Crimson
2020
oil on canvas
McNay Art Museum, San Antonio, Texas

Sean Scully
Doric Brown
2009
oil on aluminum
Art Gallery of New South Wales, Sydney

Wolfgang Sievers
Match Making, Bryant and May Factory
1939
gelatin silver print
Heide Museum of Modern Art, Bulleen, Australia

Wolfgang Sievers
Advertising Image for Stockings, Berlin
1938
gelatin silver print
Art Gallery of South Australia, Adelaide

Wolfgang Sievers
Old Cottages at Aldinga, South Australia
1976
C-print
Art Gallery of South Australia, Adelaide

Wolfgang Sievers
Old Frankfurt-am-Main before its Destruction in the War
1937
gelatin silver print
Art Gallery of South Australia, Adelaide

Francisco Goya
Venus and Adonis
ca. 1771
oil on canvas
Museo de Zaragoza

Francisco Goya
Portrait of Bernardo de Iriarte
1797
oil on canvas
Musée des Beaux-Arts de Strasbourg

Francisco Goya
Portrait of Martín Zapater
(merchant and friend of Goya)
1797
oil on canvas
Museo de Bellas Artes de Bilbao

Francisco Goya
Penitent St Jerome
1798
oil on canvas
Norton Simon Museum, Pasadena, California

from The Sea and the Mirror

[Prospero to Ariel]: 

     When I am safely home, oceans away in Milan, and
Realize once and for all I shall never see you again,
     Over there, maybe, it won't seem quite so dreadful
Not to be interesting any more, but an old man
     Just like other old men, with eyes that water
Easily in the wind, and a head that nods in the sunshine,
     Forgetful, maladroit, a little grubby,
And to like it. When the servants settle me into a chair
     In some well-sheltered corner of the garden,
And arrange my muffler and rugs, shall I ever be able
     To stop myself from telling them what I am doing, –
Sailing alone, out over seventy thousand fathoms – ?
     Yet if I speak, I shall sink without a sound
Into unmeaning abysses. Can I learn to suffer
     Without saying something ironic or funny
On suffering? I never suspected the way of truth
     Was a way of silence where affectionate chat
Is but a robbers' ambush and even good music
     In shocking taste; and you, of course, never told me.
If I peg away at it honestly every moment,
     And have luck, perhaps by the time death pounces
His stumping question, I shall just be getting to know
     The difference between moonshine and daylight . . .
I see you starting to fidget. I forgot. To you
     That doesn't matter. My dear, here comes Gonzalo
With a solemn face to fetch me. O Ariel, Ariel,
     How I shall miss you. Enjoy your element. Good-bye.

– W.H. Auden (1942-44)