Sunday, September 15, 2024

Multifarious Allegories

Karel Dujardin
Allegory on the Brevity of Life
1663
oil on canvas
Statens Museum for Kunst, Copenhagen

Cornelis van Haarlem
Allegory on the Brevity of Life
1617
oil on panel
Statens Museum for Kunst, Copenhagen

Carlo Maratti after Titian
Allegory on the Vanity of Earthly Life
ca. 1680
oil on canvas
Alte Pinakothek, Munich

Pieter Isaacsz
Allegory of Time, Old Age and the Scholar
ca. 1610
oil on canvas
Statens Museum for Kunst, Copenhagen

Karel Dujardin
Allegory on the Glory of Art conquering Time and Envy
1675
oil on canvas
Staatsgalerie in der Neuen Residenz, Bamberg

Hans Reichle
Allegory of Artistic Creativity
1606
drawing
Statens Museum for Kunst, Copenhagen

Louis Fabritius Dubourg
Allegory of Invention
1748
watercolor
Rijksmuseum, Amsterdam

Sassoferrato (Giovanni Battista Salvi)
Holy Family
with Allegory of Sin and Salvation

ca. 1650
oil on copper
Staatsgalerie, Stuttgart

Giuseppe Passeri
Allegory of Penitence
ca. 1690
drawing
Statens Museum for Kunst, Copenhagen

Rosalba Carriera
Allegory of Vigilance
ca. 1725
pastel on vellum
Staatsgalerie, Stuttgart

Giulio Carpioni
Allegory of Chastity
ca. 1650
oil on canvas
Staatsgalerie, Stuttgart

Pieter Isaacsz
Allegory of the Sense of Hearing
1622
oil on canvas
Statens Museum for Kunst, Copenhagen

Pasquale Ottino (il Pasqualotto)
Allegory on the Power of Love
(Venus, Cupid, Mars and Chronos)
ca. 1600
oil on copper
Staatsgalerie, Stuttgart

Johann Heiss
Allegory of Abundance with Demeter and Retinue
ca. 1685
oil on canvas
Staatsgalerie, Stuttgart

Bernardo Strozzi
Allegorical Figure
ca. 1636
drawing
(study for painting)
 Cleveland Museum of Art, Ohio

Bernardo Strozzi
Allegorical Figure
ca. 1636
oil on canvas
Cleveland Museum of Art, Ohio

Marching Song

Remember all those renowned generations,
They left their bodies to fatten the wolves,
They left their homesteads to fatten the foxes,
Fled to far countries, or sheltered themselves
In cavern, crevice or hole,
Defending Ireland's soul.

Be still, be still, what can be said?
My father sang that song,
But time amends old wrong,
All that is finished, let it fade.

Remember all those renowned generations,
Remember all that have sunk their blood,
Remember all that have died on the scaffold,
Remember all that have fled, that have stood,
Stood, took death like a tune
On an old tambourine.

Be still, be still, what can be said?
My father sang that song,
But time amends old wrong,
And all that is finished, let it fade.

Fail and that history turns into rubbish,
All that great past to a trouble of fools;
Those that come after shall mock at O'Donnell
Mock at the memory of both O'Neills,
Mock Emmet, mock Parnell,
All the renown that fell.

Be still, be still, what can be said?
My father sang that song,
But time amends old wrong,
And all that is finished, let it fade.

– W.B. Yeats (1939)

Sérusier - Hamilton - Renger-Patzsch - Rowell

Paul Sérusier
Landscape at Pont Aven
1890
oil on canvas
National Gallery of Canada, Ottawa

Paul Sérusier
Seaweed Gatherer
ca. 1890
oil on canvas
Indianapolis Museum of Art

Paul Sérusier
Still Life with Apples and Violets
ca. 1890-91
oil on canvas
Norton Simon Museum, Pasadena, California

Paul Sérusier
La Marchande Ambulante
1895
lithograph
National Gallery of Australia, Canberra

Richard Hamilton
Interior with Monochromes
1979
screenprint and collotype
National Gallery of Australia, Canberra

Richard Hamilton
Patricia Knight
1982
etching and aquatint
National Gallery of Australia, Canberra

Richard Hamilton
The Citizen
1985
dye transfer print
National Gallery of Australia, Canberra

Richard Hamilton
The State
1994
dye transfer print
National Gallery of Australia, Canberra

Albert Renger-Patzsch
Zwinger, Dresden
ca. 1927
gelatin silver print
National Gallery of Australia, Canberra

Albert Renger-Patzsch
Willow Tree in Winter
ca. 1925
gelatin silver print
National Gallery of Australia, Canberra

Albert Renger-Patzsch
Sunflower
ca. 1925
gelatin silver print
National Gallery of Australia, Canberra

Albert Renger-Patzsch
Digitalis purpurea
ca. 1922-23
gelatin silver print
National Gallery of Australia, Canberra

Kenneth Rowell
Costume Designs for Daisy and Rose in Alice in Wonderland
1953
watercolor and collage on paper
National Gallery of Australia, Canberra

Kenneth Rowell
Costume Designs for Waltzing Soldiers in Carte Blanche
1953
gouache and collage on paper
National Gallery of Australia, Canberra

Kenneth Rowell
Preliminary Design for ballet The Planets
ca. 1975
acrylic, gouache and collage on paper
National Gallery of Australia, Canberra

Kenneth Rowell
Scrim Design for Alice in Wonderland
1953
watercolor and ink on paper
National Gallery of Australia, Canberra

Spelling Problem

A woman from Barnard College calls me and in the course of our phone conversation she asks me if I would please spell hemorrhaging for her. I spell it, but wrong – maybe "hemmhoraging."
     I don't like not knowing how to spell a word, since I am interested in how words are spelled.
     So then I become curious and begin asking friends and others to spell that word – whenever I am talking to someone on the phone.
     R. spells it "hemmorhaging."
     E. spells it "hemmoraging" and then hastily changes it to "hemorhaging."
     Mother spells it "hemorhaging."
     Mother, before spelling it, mentions the "hae-" and "he-" choice, which E. also mentioned.
     At first I think the "ae-" is a "red herring," as I say to E. (Or a "raed haerring.") But when I try writing the word using the "ae-" form, I think maybe it isn't irrelevant after all. Maybe using the "ae-" form would make it easier to spell the rest of the word correctly.
     D. spells it "hemmoraging."
     S. spells it "hemhorraging."
     Ann L. spells it "hemhoraging."

But all this happened fifteen years ago. And although I keep thinking back and trying to remember, I just can't remember why a woman telephoning me from Barnard College would ask me to spell the word hemorrhaging.

– Lydia Davis, from Our Strangers (2023)

Saturday, September 14, 2024

Fate of Couples

Francesco Albani
Galatea
ca. 1632
oil on canvas
Gemäldegalerie Alte Meister, Dresden

Sebastian Stoskopff
Trompe l'oeil Print with Triumph of Galatea
1651
oil on canvas
Kunsthistorisches Museum, Vienna

Anonymous Italian Artist
Acis and Galatea fleeing Polyphemus
17th century
drawing
Graphische Sammlung Albertina, Vienna

Antoine-Jean Gros
Acis and Galatea
1833
oil on canvas
Chrysler Museum of Art, Norfolk, Virginia

Bartholomeus Spranger
Venus and Mars, with Mercury spying
ca. 1586-87
oil on canvas
Kunsthistorisches Museum, Vienna

Paolo Veronese
Mars and Venus
ca. 1575-80
oil on canvas
Galleria Sabauda, Turin

Hans Rottenhammer
Mars and Venus
1604
oil on copper
Rijksmuseum, Amsterdam

Hans Rottenhammer
Mars and Venus
1605
oil on copper
Deutsche Barockgalerie, Augsburg

Johann Heiss
Mars and Venus
ca. 1675-80
oil on canvas
Deutsche Barockgalerie, Augsburg

Nicolò dell' Abate
Cupid and Psyche
ca. 1550-70
oil on canvas
Detroit Institute of Arts

Jacopo Bertoia
Cupid and Psyche
ca. 1566-68
oil on plaster, transferred to canvas
Galleria Nazionale di Parma

Joseph Heintz the Elder
Cupid and Psyche
ca. 1605-1606
oil on copper
Deutsche Barockgalerie, Augsburg

Jacopo Zucchi
Cupid and Psyche
1589
oil on canvas
Galleria Borghese, Rome

Matthäus Gundelach
Cupid and Psyche
1613
oil on copper
Deutsche Barockgalerie, Augsburg

Ernest-Eugène Hiolle
Narcissus
1868
plaster
Palais des Beaux-Arts de Lille

Guy Head
Echo flying from Narcissus
ca. 1795-98
oil on canvas
Detroit Institute of Arts

Cuchulain Comforted

A man that had six mortal wounds, a man
Violent and famous, strode among the dead;
Eyes stared out of the branches and were gone.

Then certain Shrouds that muttered head to head
Came and were gone. He leant upon a tree
As though to meditate on wounds and blood.

A Shroud that seemed to have authority
Among those bird-like things came, and let fall
A bundle of linen. Shrouds by two and three

Came creeping up because the man was still.
And thereupon that linen-carrier said
'Your life can grow much sweeter if you will

'Obey our ancient rule and make a shroud;
Mainly because of what we only know
The rattle of those arms makes us afraid.

'We thread the needles' eyes and all we do
All must together do.' That done, the man
Took up the nearest and began to sew.

'Now we shall sing and sing the best we can
But first you must be told our character:
Convicted cowards all by kindred slain

'Or driven from home and left to die in fear.'
They sang, but had nor human notes nor words,
Though all was done in common as before,

They had changed their throats and had the throats of birds.

– W.B. Yeats (1939)

Made in 2009

Gwyn Pigott
Steadfast
2009
porcelain
National Gallery of Australia, Canberra

Bernhard Schobinger
Necklace
2009
quartz and gold
National Gallery of Australia, Canberra

John van der Woude
Édouard Montpetit Station, Montreal
2009
C-print
Beaverbrook Art Gallery, Fredericton, New Brunswick

Wouter Dam
Object
2009
stoneware
Kunstmuseum, The Hague

David Klamen
Untitled
2009
oil on paper
McNay Art Museum, San Antonio, Texas

Wei Shen
Self Portrait
2009
C-print
North Carolina Museum of Art, Raleigh

Chantal Joffe
Self Portrait with Esme
2009
oil on linen
Institute of Contemporary Art, Boston

Scott Daniel Ellison
Birthday Party
2009
acrylic on board
NSU Art Museum, Fort Lauderdale, Florida

Tamara Dean
The Gathering
2009
inkjet print
Art Gallery of South Australia, Adelaide

Hannah Adad
Raft of the Medusa 2
2009
C-print
Musée National des Beaux-Arts du Québec

Pip Comport
Journey's End
2009
linocut
Art Gallery of South Australia, Adelaide

Melanie Matthieu
Untitled (Geneviève Lagravière)
2009
gelatin silver print
Kunstmuseum, The Hague

Ad Gerritsen
Pier Luigi Nervi (architect)
2009
oil on canvas
Kunstmuseum, The Hague

David Wolfe
Mountain Portrait
Hallett Peak, Rocky Mountain National Park

2009
oil on canvas
Denver Art Museum, Colorado

Stephen Tomasko
Untitled
(series, Winter was Hard)
2009
inkjet print
Akron Art Museum, Ohio

Lance Letscher
Funny Hat
2009
collage on panel
McNay Art Museum, San Antonio, Texas

 A Misunderstanding

Just as his dream foretold, he met them all:
The smiling grimy boy at the garage
Ran out before he blew his horn; the tall
Professor in the mountains with his large
Tweed pockets full of plants addressed him hours
Before he would have dared; the deaf girl too
Seemed to expect him at her green chateau;
A meal was laid, the guest-room full of flowers.

More, their talk always took the wished-for turn,
Dwelt on the need for someone to advise,
Yet, at each meeting, he was forced to learn
The same misunderstanding would arise.
Which was in need of help? Were they or he
The physician, bridegroom and incendiary?

– W.H. Auden (1934)