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
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
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)