Saturday, August 17, 2024

Made in Pairs - II

William Adolphe Bouguereau
Bacchante on Panther
1855
oil on canvas
Cleveland Museum of Art, Ohio

William Adolphe Bouguereau
Arion on Seahorse
1855
oil on canvas
Cleveland Museum of Art, Ohio

Anthony van Dyck
Portrait of Filippo Francesco d'Este,
Marchese di Lanzo

ca. 1634-35
oil on canvas
Kunsthistorisches Museum, Vienna

Anthony van Dyck
Portrait of Carlo Emmanuele d'Este,
Marchese di Borgomanero

ca. 1634-35
oil on canvas
Kunsthistorisches Museum, Vienna

Francisque Duret (François-Joseph Duret)
La Tragédie
ca. 1850-60
marble statue
Musée des Augustins de Toulouse

Francisque Duret (François-Joseph Duret)
La Comédie
ca. 1850-60
marble statue
Musée des Augustins de Toulouse

Johann Wolfgang Baumgartner
View of the Pont Neuf, Paris
ca. 1733-46
oil on glass
Deutsche Barockgalerie, Augsburg

Johann Wolfgang Baumgartner
View of the Seine, Paris
ca. 1733-46
oil on glass
Deutsche Barockgalerie, Augsburg

Nicholaes Eliasz Pickenoy
Portrait of a Lady
ca. 1626
oil on panel
Museum of Fine Arts, Budapest

Nicholaes Eliasz Pickenoy
Portrait of a Gentleman
ca. 1626
oil on panel
Museum of Fine Arts, Budapest

Samuel Percy
Rustic Scene: Human Emotions
1800
colored wax
Cincinnati Art Museum, Ohio

Samuel Percy
Rustic Scene: Gypsy Encampment
1800
colored wax
Cincinnati Art Museum, Ohio

Jan Thomas
Portrait of Leopold I,
Holy Roman Emperor, in Masque Costume

1667
oil on canvas
Kunsthistorisches Museum, Vienna

Jan Thomas
Portrait of Infanta Margarita Teresa,
Holy Roman Empress, in Masque Costume

1667
oil on canvas
Kunsthistorisches Museum, Vienna

Martin Johann Schmidt
Joseph and Potiphar's Wife
1760
oil on canvas, with gilt pastiglia
Deutsche Barockgalerie, Augsburg

Martin Johann Schmidt
Susanna Bathing
1760
oil on canvas, with gilt pastiglia
Deutsche Barockgalerie, Augsburg

from Two Guardians

My words were sent underground to where the toggle switch detonates.
That was the glare our voices were avoiding. There was something also

broken about the obedience of this retainer. The arcades weren't
semaphores just because the arrows leading there facilitated those

of us in line as though reliant on east or west quadrants. The ticket
master was prone to elide requests from the travelers, the sliding doors

sounded a fanfare for the common man, get faster as thought, or mind
the gaps. What I infer can never altogether establish a space adequate

to the body count. The platform motivates two guardians who were
instructed in safekeeping to usher me from harm's way . . .

– Roberto Tejada (2017)