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| Lester Johnson Beethoven with Stove 1964 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Joan Jonas Mirror Piece I 1969 C-print Guggenheim Museum, New York |
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| David Hockney Savings and Loan Building 1967 acrylic on canvas Smithsonian American Art Museum, Washington DC |
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| David Hockney Ordinary Picture 1964 acrylic on canvas Hirshhorn Museum, Washington DC |
-Boy-with-Colourful-Tree-1964-acrylic-on-canvas-Hirshhorn-Museum-Washington-DC.jpg) |
| David Hockney Cubist (American) Boy with Colourful Tree 1964 acrylic on canvas Hirshhorn Museum, Washington DC |
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| Jonah Kinigstein Christ among the Clowns 1962 oil on board Smithsonian American Art Museum, Washington DC |
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| Hans Hofmann Fermented Soil 1965 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Hans Hofmann Elysium 1961 oil on canvas Blanton Museum of Art, Austin, Texas |
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| Hans Hofmann Trophy 1961 oil on panel Hirshhorn Museum, Washington DC |
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| Lee Krasner Siren 1966 oil on canvas Hirshhorn Museum, Washington DC |
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| Peter Krasnow K-6 1961 1961 oil on panel with attached wood elements Smithsonian American Art Museum, Washington DC |
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| R.B. Kitaj Novella (series, Great Ideas) 1967 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Anatolij Krivtschikov Die Kreuzigung 1963 screenprint Hirshhorn Museum, Washington DC |
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| Menashe Kadishman Open Suspense 1968 steel Hirshhorn Museum, Washington DC |
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| Menashe Kadishman Segments 1968 painted aluminum and glass Hirshhorn Museum, Washington DC |
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| Nancy Grossman Wood Collage #14 1963 painted wood, cork and glass Hirshhorn Museum, Washington DC |
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| Nancy Grossman Wood Collage #13 1963 painted wood, metal and rubber Hirshhorn Museum, Washington DC |
SONNET – A word sometimes, in former days, loosely applied to any short poem, especially of an amatory nature; often nowadays almost as improperly limited to a special Italian form of the true sonnet. This latter is a poem of fourteen lines, of the same length generally and (except by exception) decasyllables (originally, of course, hendecasyllables) arranged in varying rhyme-schemes. Its exact origin is unknown; but it is first found in Italian-Sicilian poets of the thirteenth century, and it became enormously popular in Italy very soon. It did not spread northward for a considerable time, the first French sonnet occurring not very early in the sixteenth century; the first English, not till near its middle. A great sonnet-outburst took place at the end of that century with us; but the form fell into disuse in the seventeenth, though championed by Milton; and it was not till the extreme end of the eighteenth century that it became, and has since remained, something of a staple. Partly the absence of the Italian plethora of similar endings, and partly something else, made the earliest English practitioners select an arrangement with final rhymed couplet, the twelve remaining lines being usually arranged in rhymed, but not rhyme-linked, quatrains: and this form, immortalised by Shakespeare, is probably the best suited to English. It is, at any rate, absolutely genuine and orthodox there. But Milton, Wordsworth, and especially Dante and Christina Rossetti, have given examples of the sonnet which, divided mostly into octave and sestet, have this latter arranged in inter-twisted rhymes. This form is susceptible of great beauty, but has no prerogative, still less any primogeniture, in our poetry.
– George Saintsbury, from Historical Manual of English Prosody (1910)