Affinities

Dora Chapman
Self Portrait
ca. 1937
oil on canvas
National Gallery of Australia, Canberra

Dora Chapman
Self Portrait
ca. 1940
oil on canvas
Art Gallery of South Australia, Adelaide

Marcel Breuer
Long Chair
ca. 1936
laminated plywood
National Gallery of Australia, Canberra

Marcel Breuer
Wassily Lounge Chair
1925
(this example manufactured later)
tubular steel frame with canvas panels
Royal Ontario Museum, Toronto

James Boyd
Figure Study
ca. 1953-55
charcoal and watercolor on paper
Ottawa Art Gallery, Ontario

James Boyd
Figure Study
ca. 1953-55
charcoal on paper
Ottawa Art Gallery, Ontario

Will Carqueville
Lippincott's February
1895
lithograph (poster)
National Gallery of Australia, Canberra

Will Carqueville
Lippincott's February
1895
lithograph (poster)
Delaware Art Museum, Wilmington

Kirsten Coelho
Colander, Oil Can & Bottle
2017-18
porcelain
Art Gallery of South Australia, Adelaide

Kirsten Coelho
Ridged Vase, Bottle & Funnel
2017
porcelain
Art Gallery of South Australia, Adelaide

Alfred Joseph Casson
Crocuses
ca. 1948
screenprint
Art Gallery of Greater Victoria, British Columbia

Alfred Joseph Casson
Tulips
ca. 1948
screenprint
Art Gallery of Greater Victoria, British Columbia

AES+F (art collective)
Allegoria Sacra: Knight and Death
2012
pigment print
private collection

AES+F (art collective)
Untitled
2020
pigment print
Art Gallery of South Australia, Adelaide

Claude Cahun
Self Portrait
1928
gelatin silver print
Museum Boijmans Van Beuningen, Rotterdam

Claude Cahun
Self Portrait
1929
gelatin silver print
Museum Boijmans Van Beuningen, Rotterdam

The Racer's Widow

The elements have merged into solicitude.

Spasms of violets rise above the mud

And weed and soon the birds and ancients

Will be starting to arrive, bereaving points 

South. But never mind. It is not painful to discuss

His death. I have been primed for this,

For separation, for so long. But still his face assaults

Me. I can hear that car careen again, the crowd coagulate on asphalt.

In my sleep. And watching him, I feel my legs like snow

that let him finally let him go. 

As he lies draining there. And see

How even he did not get to keep that lovely body. 

– Louise Glück (1968)

Emphatic Linear Perspective - III

Abraham Bosse
Banquet of the Chevaliers de l'Ordre du Saint-Esprit
ca. 1633-34
etching
High Museum of Art, Atlanta

Dirck van Delen
Palace Court
1627
oil on panel
Rhode Island School of Design, Providence

Melchior Lorck
Interior Courtyard
1555
drawing
British Museum

Lancelot-Théodore Turpin de Crissé
Arch of Constantine viewed from the Colosseum
ca. 1820
oil on paper, mounted on canvas
Morgan Library, New York

Anonymous French Artist
Study for Sculpture Installation
ca. 1950
drawing
Musée des Beaux-Arts de Bordeaux

Giovanni Contini
Ruinous Interior of Teatro Farnese, Palazzo della Pilotta, Parma
ca. 1860-65
oil on canvas
Galleria Nazionale di Parma

Anonymous Italian Artist
Plasterers decorating a Ceiling
18th century
drawing
Statens Museum for Kunst, Copenhagen

Constant Bourgeois
The Great Gallery in the Louvre
1791
drawing
Städel Museum, Frankfurt

Jean-Charles-Nicaise Perrin
Portia and Brutus
1785
drawing
(study for painting)
Musée des Beaux-Arts de Valenciennes

Pietro Melchiorre Ferrari
Christ healing the Paralytic
1761
oil on canvas
Galleria Nazionale di Parma

Hubert Robert
Capriccio with Ruins
ca. 1750-60
oil on canvas
Galleria Nazionale di Parma

Pieter Jansz Saenredam
Interior of the Grote Kerk, Haarlem
1660
oil on panel
Museum of Fine Arts, Boston

Francesco Guardi
Palace Courtyard with Staircase
ca. 1780
oil on canvas
Galleria Sabauda, Turin

Piero di Cosimo
Palace under Construction
ca. 1485-90
oil on panel
John and Mable Ringling Museum of Art, Sarasota

Giuseppe Badiali
Funerary Crypt
ca. 1840
drawing
Morgan Library, New York

Paris Bordone
The Annunciation
ca. 1550
oil on canvas
Musée des Beaux-Arts de Caen

I call to the eye of the mind
A well long choked up and dry
And boughs long stripped by the wind,
And I call to the mind's eye
Pallor of an ivory face,
Its lofty dissolute air,

A man climbing up to a place
The salt sea wind has swept bare.

What were his life soon done!
Would he lose by that or win?
A mother that saw her son
Doubled over a speckled shin,

Cross-grained with ninety years,

Would cry, 'How little worth
Were all my hopes and fears

And the hard pain of his birth!'

– W.B. Yeats (1917)

Garabedian - Fuqua - Höchst - Degas

Charles Garabedian
Ulysses
1985
acrylic on paper
Orange County Museum of Art, Costa Mesa, California

Charles Garabedian
Herodotus
1995-96
oil on canvas
Orange County Museum of Art, Costa Mesa, California

Charles Garabedian
Family Portrait
1964
oil on canvas
private collection

Charles Garabedian
Restaurant (The Waitress)
1966
enamel on board
private collection

Robert Fuqua (Joseph Wirt Tillotson)
Amazing Stories Magazine
1944
watercolor and gouache on board
(cover illustration)
New Britain Museum of American Art, Connecticut

Robert Fuqua (Joseph Wirt Tillotson)
Amazing Stories Magazine
1940
gouache on paper
(cover illustration)
New Britain Museum of American Art, Connecticut

Robert Fuqua (Joseph Wirt Tillotson)
Amazing Stories Magazine
1939
offset print
private collection

Robert Fuqua (Joseph Wirt Tillotson)
Amazing Stories Magazine
1939
offset print
private collection

Höchst Manufactory (Germany)
Chinese Emperor
ca. 1766
porcelain
Metropolitan Museum of Art, New York

Höchst Manufactory (Germany)
Chinese Musician
ca. 1770
porcelain
Harvard Art Museums

Höchst Manufactory (Germany)
Harlequin
ca. 1750-53
porcelain
Metropolitan Museum of Art, New York

Höchst Manufactory (Germany)
Chess Piece - Knight
ca. 1762
porcelain
Art Institute of Chicago

Edgar Degas
Giovanna and Giuliana Bellelli
ca. 1865-66
drawing
(study for painting)
Museum Boijmans Van Beuningen, Rotterdam

Edgar Degas
Dancer
(dégagée en quatrième ouverte)
1885
drawing
Museum Boijmans Van Beuningen, Rotterdam

Edgar Degas
Dancer with Double Bass
ca. 1885-87
drawing
Museum Boijmans Van Beuningen, Rotterdam

Edgar Degas
Model on Horseback
ca. 1890
drawing
Museum Boijmans Van Beuningen, Rotterdam

The red signature visible on these Degas drawings was made with a stamp. Executors used it to mark and authenticate the large collection of working drawings and other autograph material discovered in the artist's studio after his death in 1917. This potential archive might (and should) have been preserved intact, but was instead dispersed by the heirs during the early 1920s in a series of sales.