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| Milton Glaser Tomato Records, New York 1978 offset-lithograph (poster) Cooper Hewitt, Smithsonian Design Museum |
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| Pietro di Gottardo Gonzaga Subterranean Mausoleum ca. 1780-90 drawing Art Institute of Chicago |
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| Frederick Goodall Le Bon Curé 1853 watercolor on paper British Museum |
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| Sidney Goodman The Play 1963 oil on linen Hirshhorn Museum, Washington DC |
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| Henri Goovaerts Académie ca. 1901 oil on canvas Bonnefantenmuseum, Maastricht |
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| Spencer Gore The Icknield Way 1912 oil on canvas Art Gallery of New South Wales, Sydney |
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| Douglas Gorsline Stood Up 1939 etching Smithsonian American Art Museum, Washington DC |
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| Adolph Gottlieb Spray 1959 oil on canvas Hirshhorn Museum, Washington DC |
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| Jules-Adolphe Goupil The Village Girl 1876 oil on canvas Art Gallery of New South Wales, Sydney |
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| Jan van Goyen Landscape with a Dune 1629 oil on panel Gemäldegalerie, Staatliche Museen zu Berlin |
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| Gottfried Bernhard Göz God the Father with Adam in Paradise ca. 1750 drawing Belvedere Museum, Vienna |
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| Benozzo Gozzoli Four Standing Saints with Kneeling Donors 1481 tempera on panel, transferred to canvas Metropolitan Museum of Art, New York |
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| Urs Graf the Elder Bearer of the Standard of Canton Zug 1521 drawing British Museum |
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| Walter Gramatté Sick Man with Flowers 1918 oil on canvas Pinakothek der Moderne, Munich |
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| Duncan Grant Still Life with Cyclamen ca. 1914 oil on board Art Gallery of New South Wales, Sydney |
-Scene-from-The-Maid's-Tragedy-by-Beaumont-and-Fletcher-c1735-40-drawing-Graphische-Sammlung-Albertina-Vienna.jpg) |
| Gravelot (Hubert-François Bourguignon) Scene from The Maid's Tragedy by Beaumont and Fletcher ca. 1735-40 drawing Graphische Sammlung Albertina, Vienna |
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| Cleve Gray Roman Wall 1981 acrylic paint and sawdust on canvas Brooklyn Museum |
Mr. Scogan drank off what was left of his port and refilled the glass.
"At this very moment," he went on, "the most frightful horrors are taking place in every corner of the world. People are being crushed, slashed, disembowelled, mangled; their dead bodies rot and their eyes decay with the rest. Screams of pain and fear go pulsing through the air at the rate of eleven hundred feet per second. After travelling for three seconds they are perfectly inaudible. These are distressing facts; but do we enjoy life any the less because of them? Most certainly we do not. We feel sympathy, no doubt; we represent to ourselves imaginatively the sufferings of nations and individuals and we deplore them. But, after all, what are sympathy and imagination? Precious little, unless the person for whom we feel sympathy happens to be closely involved in our affections; and even then they don't go very far. And a good thing too; for if one had an imagination vivid enough and sympathy sufficiently sensitive really to comprehend and to feel the sufferings of other people, one would never have a moment's peace of mind. A really sympathetic race would not so much as know the meaning of happiness. But luckily, as I've already said, we aren't a sympathetic race. At the beginning of the war I used to think I really suffered, through imagination and sympathy, with those who physically suffered. But after a month or two I had to admit that, honestly, I didn't. And yet I think I have a more vivid imagination than most. One is always alone in suffering; the fact is depressing when one happens to be the sufferer, but it makes pleasure possible for the rest of the world."
– Aldous Huxley, from Crome Yellow (1921)