Pieces

Aleksandr Golovin
Stage Design for Molière's Don Juan in Saint Petersburg
ca. 1910
oil on linen
McNay Art Museum, San Antonio, Texas

Ancient Greek Culture
Athlete
3rd-2nd century BC
bronze statuette
Museumslandschaft Hessen Kassel

Josef Hoffmann
Design for Silver Coffee Service
ca. 1910
ink and silver paint on paper
National Gallery of Australia, Canberra

Richard Hamilton
Guggenheim Painted Grey
1976
spray-painted perspex relief
Museum Boijmans Van Beuningen, Rotterdam

Louis Faurer
Barnum & Bailey Performers
Madison Square Garden NYC
1930
gelatin silver print
Brooklyn Museum

Aleksandr Golovin
Self Portrait
1912
oil on canvas
private collection

Carl Wilhelm von Heideck
Neapolitan Woman
ca. 1790-1810
watercolor and graphite on paper
Metropolitan Museum of Art, New York

Carl Fabergé
Russian Peasant Girl
ca. 1910
jasper, nephrite, jade, purpurine, sapphires
Metropolitan Museum of Art, New York

Carl Fabergé
Linked Bowls
ca. 1886
bowenite and silver
National Gallery of Australia, Canberra

Carl Fabergé
Design for Glass Vase with Silver-gilt Mounts
ca. 1899-1904
watercolor on paper
Metropolitan Museum of Art, New York

Cycladic Culture (Greek Islands)
Female Figure
3000-2800 BC
marble
Menil Collection, Houston

Aleksandr Golovin
Portrait of Mikhail Ivanovich Tereshchenko
ca. 1910-14
oil on canvas
Malmö Konstmuseum, Sweden

Carl Wilhelm von Heideck
Bourtzi Castle at Nauplia
(medieval Venetian fortress in Greece)
1836
oil on canvas
Lenbachhaus, Munich

Richard Hamilton
Typo/Topography
of Marcel Duchamp's Large Glass
2002
 inkjet print mounted on aluminum
Museum Boijmans Van Beuningen, Rotterdam

Gayle Porter Hoskins
Franklin and his Volunteers at Three Crown Inn
(illustration for Du Pont Co. Safety Calendar)
1942
oil on canvas
Delaware Art Museum, Wilmington

Josef Hoffmann for Wiener Werkstätte
Flower Basket
ca. 1904
zinc-plated sheet-iron with glass insert
Royal Ontario Museum, Toronto

The Fortress

There is nothing now. To learn 

the lesson past disease

was easier. In God's hotel I saw

my name and number stapled to a vein

as Marcy funneled its corrective air

toward Placid. I can breathe

again. I watch the mountain under siege

by ice give way to blocks of dungeons,

ovens manned by wives. I understand.

They coil their hair, they turn their 

music on as, humming to herself, the night-

nurse smoothes her uniform. This is

the proper pain. The lights are out. Love

forms in the human body. 

– Louise Glück (1975)