 |
| June Harwood Blue Violet Green ca. 1963 acrylic on canvas Los Angeles County Museum of Art |
 |
| David Hare Cronus Grown 1968 acrylic paint, collage and oil stick on linen Whitney Museum of American Art, New York |
 |
| Joseph Hirsch Painted Man 1963 lithograph Whitney Museum of American Art, New York |
 |
| Joseph Hirsch Interior with Figures 1962 oil on linen Whitney Museum of American Art, New York |
 |
| Kees Timmer Hyena 1960 oil on panel Museum Boijmans Van Beuningen, Rotterdam |
 |
| Richard Upton Odalisque with Blue Trees 1968 gouache over lithograph Smithsonian American Art Museum, Washington DC |
 |
| Irving Penn Hell's Angels, San Francisco 1967 platinum-palladium print National Portrait Gallery, Washington DC |
 |
| Robert McFarlane Boy watching Anzac Day Parade, Market Street, Sydney 1968 gelatin silver print Art Gallery of South Australia, Adelaide |
 |
| Jasper Johns 0 through 9 1962 pastel, crayon and ink on paper Hirshhorn Museum, Washington DC |
 |
| Jasper Johns 0 through 9 1961 oil on canvas Hirshhorn Museum, Washington DC |
-Cooper-Hewitt-Smithsonian-Design-Museum.jpg) |
| Joe Martin Palazzo 1969 screenprinted vinyl (wallpaper) Cooper Hewitt, Smithsonian Design Museum |
-Cooper-Hewitt-Smithsonian-Design-Museum.jpg) |
| Joe Martin Trophées de Chasse ca. 1965 screenprinted vinyl (wallpaper) Cooper Hewitt, Smithsonian Design Museum |
 |
| Russell Lynes Gregory Gillespie's Studio in Rome 1969 gelatin silver print Archives of American Art, Washington DC |
 |
| Russell Lynes Gregory Gillespie in Rome 1969 gelatin silver print Archives of American Art, Washington DC |
 |
| Serge Poliakoff Composition before 1969 color etching and aquatint Art Institute of Chicago |
 |
| Michael Mazur Artist at Easel #1 1967 etching New Britain Museum of American Art, Connecticut |
 |
| Sigmar Polke Bunnies 1966 acrylic on canvas Hirshhorn Museum, Washington DC |
JOHN MILTON (1608-1674) – The last of the four chief masters of English prosody. Began by various experiments in metre, both in and out of lyric stanza – reaching in the "Nativity" hymn almost the maximum of majesty in concerted measures. In L'Allegro, Il Penseroso, and the Arcades passed into a variety of the octosyllabic couplet, which had been much practised by Shakespeare and others, but developed its variety and grace yet further, though he did not attempt the full Spenserian or Christabel variation. In Comus continued this, partly, with lyrical extensions, but wrote the major part in blank verse – not irreminiscent of the single-minded form, but largely studied off Shakespeare and Fletcher, and with his own peculiar turns already given to it. In Lycidas employed irregularly rhymed paragraphs of mostly decasyllabic lines. Wrote some score of fine sonnets, adjusted more closely to the usual Italian models than those of most of his predecessors. After an interval, produced in Paradise Lost the first long poem in blank verse, and the greatest non-dramatic example of the measure ever seen – admitting the fullest variation and substitution of foot and syllable, and constructing verse-paragraphs of almost stanzaic effect by varied pause and contrasted stoppage and overrunning. Repeated this, with perhaps some slight modifications, in Paradise Regained. Finally, in Samson Agonistes, employed blank-verse dialogue with choric interludes rhymed elaborately – though in an afterthought note to Paradise Lost he had denounced rhyme – and arranged on metrical schemes sometimes unexampled in English.
– George Saintsbury, from Historical Manual of English Prosody (1910)