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Paul Bril Italianate Landscape with Waterfall ca. 1600 drawing, with added watercolor Graphische Sammlung Albertina, Vienna |
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Cornelis van Poelenburgh Falls at Tivoli ca. 1622 oil on copper Alte Pinakothek, Munich |
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Giovanni Francesco Grimaldi Landscape with Waterfall ca. 1678 oil on copper Galleria Borghese, Rome |
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Charles-François de Lacroix Villa of Maecenas at Tivoli 1764 oil on canvas Gemäldegalerie, Staatliche Museen zu Berlin |
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Louis-Gabriel Moreau Waterfall 1788 gouache on paper, mounted on panel Art Institute of Chicago |
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Filippo Giuntotardi Waterfall at Tivoli 1803 watercolor Hamburger Kunsthalle |
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John Constable Landscape with Waterfall ca. 1806 drawing Rhode Island School of Design, Providence |
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Johann Christoph Erhard Waterfall in a Forest ca. 1815-20 drawing Kupferstichkabinett, Staatliche Museen zu Berlin |
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Carl Philipp Fohr Waterfalls at Tivoli 1817 oil on canvas Städel Museum, Frankfurt |
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Jean-Baptiste Camille Corot Waterfall at Terni 1826 oil on paper, mounted on panel Metropolitan Museum of Art, New York |
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Karl Blechen Waterfall at Tivoli ca. 1832 oil on canvas Alte Nationalgalerie, Staatliche Museen zu Berlin |
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Andreas Achenbach Trollhättan Falls 1835 oil on panel Museum für Kunst und Kulturgeschichte, Dortmund |
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August Kopisch Cascata delle Marmore near Terni 1839 oil on canvas Bildgalerie von Sanssouci, Potsdam |
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Alexandre Calame Waterfall ca. 1850 oil on canvas Von der Heydt Museum, Wuppertal |
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Adolphe Braun Giessbach Waterfall ca. 1860 carbon print Museum of Fine Arts, Boston |
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Henri Rousseau The Waterfall 1910 oil on canvas Art Institute of Chicago |
from Bee on Agastache
It is our calling to be lost in detail:
the peduncle with its cunning bracts, ramified
the peduncle with its cunning bracts, ramified
for the parsing of winged grammarians;
we thrive in the trickery of constructions,
in the manner of address, entry,
in the manner of address, entry,
the faint trace of civet that was left:
the flower
matches our obsessions exactly.
matches our obsessions exactly.
We have little time for aesthetics:
our schema will not permit it.
– Caitríona O'Reilly, Geis (2015)