Emin - Elliott & Fry - Eckmann - Ensor

Tracey Emin
With You I Want To Live
1997
neon
Minneapolis Institute of Arts

Tracey Emin
I Whisper To My Past Do I Have Another Choice
2013
painted bronze
NSU Art Museum, Fort Lauderdale, Florida

Tracey Emin
Me
2019
lithograph
Jerwood Collection, London

Tracey Emin
When I Sleep
2018
bronze
National Gallery of Australia, Canberra

Elliott & Fry (London)
Vaslav Nijinsky as Petrouchka
ca. 1910-11
gelatin silver print
National Gallery of Australia, Canberra

Elliott & Fry (London)
Vaslav Nijinsky as Petrouchka
ca. 1910-11
gelatin silver print
National Gallery of Australia, Canberra

Elliott & Fry (London)
Vaslav Nijinsky
ca. 1913
gelatin silver print
National Gallery of Australia, Canberra

Elliott & Fry (London)
Stars of Patience
(Gilbert & Sullivan comic opera)
ca. 1881
Woodburytype print
British Museum

Otto Eckmann for Villeroy &-Boch
Fox Heads
ca. 1900
glazed ceramic tiles
British Museum

Otto Eckmann
Magazine of Fine Art and Handicraft
1896
lithograph (poster)
Graphische Sammlung Albertina, Vienna 

Otto Eckmann
Monogram for Kaiser Wilhelm Museum, Krefeld
ca. 1897
cliché print
Kunstbibliothek, Staatliche Museen zu Berlin

Otto Eckmann
Stollwerck Chokolade
ca. 1894
cliché print
Kunstbibliothek, Staatliche Museen zu Berlin

James Ensor
The Artist's Studio
1930
oil on canvas
Museum Boijmans Van Beuningen, Rotterdam

James Ensor
Masked Gathering
1892
oil on canvas
Musée Fin de Siècle, Brussels

James Ensor
L'Envie
1904
hand-colored etching
National Gallery of Australia, Canberra

James Ensor
Still Life with Tulips and Roses
1882
oil on canvas
Museum Boijmans Van Beuningen, Rotterdam

Pomegranate

First he gave me

his heart. It was

red fruit containing

many seeds, the skin

leathery, unlikely.

I preferred

to starve, bearing

out my training.

Then he said Behold

how the world looks, minding

your mother. I

peered under his arm:
What had she done

with color & odor?

Whereupon he said Now there
is a woman who loves

with as vengeance, adding

Consider she is in her element:

the trees turning to her, whole

villages going under 

although in hell

the bushes are still

burning with pomegranates.

At which

he cut one open & began

to suck. When he looked up at last

it was to say My dear

you are your own

woman, finally, but examine

this grief your mother

parades over our heads

remembering 

that she is one to whom

these depths were not offered. 

– Louise Glück (1975)