 |
| Diego Rivera Portrait of Mrs Carr 1946 oil on canvas Los Angeles County Museum of Art |
 |
| Georgia O'Keeffe In the Patio I 1946 oil on paper, mounted on panel San Diego Museum of Art |
 |
| Ralph Balson Painting 1941 oil on board Art Gallery of New South Wales, Sydney |
 |
| Arthur Dove Formation I 1943 oil on canvas San Diego Museum of Art |
 |
| Henri Masson Sketch of Jacques Masson 1946 drawing Ottawa Art Gallery, Ontario |
 |
| Gerome Kamrowski Membrane no. 239 1942-43 oil and pastel on canvas Los Angeles County Museum of Art |
 |
| Carlos Mérida El Oráculo 1944 oil on canvas Los Angeles County Museum of Art |
 |
| Piet Ouborg Two Figures 1946 gouache on paper Museum Boijmans Van Beuningen, Rotterdam |
 |
| Melville Price Night Scene 1945 oil on canvas Los Angeles County Museum of Art |
 |
| Alma Duncan Theresa 1943 oil on panel Ottawa Art Gallery, Ontario |
 |
| Wyndham Lewis Portrait of Mrs R.J. Sainsbury 1940-41 oil on canvas National Gallery of Canada, Ottawa |
 |
| Amalie Sara Colquhoun Rosie 1949 oil on canvas Art Gallery of New South Wales, Sydney |
 |
| Sidney Nolan Figure 1945 enamel on board Art Gallery of South Australia, Adelaide |
 |
| Erle Loran Myth and Memory II 1944 watercolor and gouache on board San Jose Museum of Art, California |
 |
| Vance Kirkland Clouds and Mountains 1943 oil on panel Denver Art Museum |
 |
| Paul Delvaux La Ville Rouge 1944 oil on canvas Museum Boijmans Van Beuningen, Rotterdam |
Exile
He did not pretend
to be one of them. They did not require
a poet, a spokesman. He saw
the dog's heart, the working
lips of the parasite –
He himself preferred
to listen in the small apartments
to listen in the small apartments
as a man would check his camera at the museum,
to express his commitment through silence:
there is no other exile.
there is no other exile.
The rest is egotism; in the bloody street,
the I, the impostor –
He was there, obsessed with revolution,
in his own city,
daily climbing the wooden stairs
in his own city,
daily climbing the wooden stairs
that were not a path
but necessary repetitions
and for twenty years
making no poetry
of what he saw: nor did he forfeit
great achievement. In his mind,
there could be no outcry that did not equate
great achievement. In his mind,
there could be no outcry that did not equate
his choice with their imprisonment
and he would not allow
the gift to be tainted.
– Louise Glück (1985)