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| František Kupka Blue and Red Prometheus ca. 1909-1910 watercolor on paper Národní Galerie, Prague |
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| Abraham van Strij Portrait of Joseph Mellie ca. 1780 oil on canvas, mounted on panel Museum Gouda |
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| Martin van Meytens Portrait of Archduke Franz Stephen dressed for marriage to Empress Maria Theresa ca. 1746 oil on canvas Kunsthistorisches Museum, Vienna |
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| workshop of Marcus Gheeraerts the Younger Portrait of Robert Devereux, 2nd Earl of Essex ca. 1596-1601 oil on panel National Gallery of Art, Washington DC |
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| Joseph Vivien Self Portrait ca. 1715-20 oil on canvas Musée des Beaux-Arts de Lyon |
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| Anthony van Dyck Portrait of a Young General ca. 1622-23 oil on canvas Kunsthistorisches Museum, Vienna |
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| Lucas van Valckenborch Portrait of Archduke Matthias of Austria as Scipio Africanus 1580 oil on panel Kunsthistorisches Museum, Vienna |
-Mus%C3%A9e-des-Augustins-de-Toulouse.jpg) Bernardo Strozzi Portrait of Martino Widmann ca. 1630 oil on canvas (seized in Rome by Napoleonic forces and never returned) Musée des Augustins de Toulouse |
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| Louis Gauffier Portrait of Prince Augustus Frederick, later Duke of Sussex 1793 oil on canvas (painted in Rome) Staatliche Kunsthalle, Karlsruhe |
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| Bartolomeo Passarotti Portait of a Cavalier ca. 1570-80 oil on canvas Rhode Island School of Design, Providence |
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| Simon Vouet Portrait of a Gentleman ca. 1620-25 oil on canvas Museum of Fine Arts, Budapest |
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| Petr Brandl Portrait of a Nobleman ca. 1710 oil on canvas Národní Galerie, Prague |
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| Denis Foyatier Cincinnatus 1834 marble Palais des Beaux-Arts de Lille |
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| Anton Raphael Mengs Académie ca. 1778 drawing National Gallery of Art, Washington DC |
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| William Edward Frost Académie ca. 1840 drawing, with watercolor National Gallery of Canada, Ottawa |
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| Philip Pearlstein Standing Model and Mirror 1973 oil on canvas Yale University Art Gallery |
My Table
Two heavy trestles, and a board
Where Sato's gift, a changeless sword,
By pen and paper lies,
That it may moralise
My days out of their aimlessness.
A bit of an embroidered dress
Covers its wooden sheath.
Chaucer had not drawn breath
When it was forged. In Sato's house,
When it was forged. In Sato's house,
Curved like new moon, moon-luminous,
It lay five hundred years.
Yet if no change appears
No moon; only an aching heart
No moon; only an aching heart
Conceives a changeless work of art.
Our learned men have urged
That when and where 'twas forged
A marvellous accomplishment,
In painting or in pottery, went
From father unto son
And through the centuries ran
Our learned men have urged
That when and where 'twas forged
A marvellous accomplishment,
In painting or in pottery, went
From father unto son
And through the centuries ran
And seemed unchanging like the sword.
Soul's beauty being most adored,
Man and their business took
The soul's unchanging look;
For the most rich inheritor,
Soul's beauty being most adored,
Man and their business took
The soul's unchanging look;
For the most rich inheritor,
Knowing that none could pass Heaven's door
That loved inferior art,
Had such an aching heart
That loved inferior art,
Had such an aching heart
That he, although a country's talk
For silken clothes and stately walk,
Had waking wits; it seemed
Juno's peacock screamed.
Juno's peacock screamed.
– W.B. Yeats, from Meditations in Time of Civil War (1923)