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| Francis Bacon Triptych 1967 oil on canvas Hirshhorn Museum, Washington DC |
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| David Bailey Goodbye Baby and Amen (Penelope Tree) 1969 gelatin silver print Victoria & Albert Museum, London |
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| Sydney Ball Banyon Wall 1967-68 acrylic on canvas Art Gallery of South Australia, Adelaide |
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| Elmer Bischoff Figures: Back and Profile 1960 oil on canvas Phillips Collection, Washington DC |
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| Elmer Bischoff Two Bathers 1960 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Ilya Bolotowsky Red, Yellow, White Diamond 1969 acrylic on canvas Hirshhorn Museum, Washington DC |
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| Christo (Christo Javacheff) Package 1961 fabric and rope Smithsonian American Art Museum, Washington DC |
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| Robert Colescott The Virgin Queen ca. 1965 oil on canvas Tacoma Art Museum, Washington State |
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| Roy De Forest Recollections of a Sword Swallower 1968 acrylic and glitter on canvas Crocker Art Museum, Sacramento, California |
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| Roy De Forest Silas Newcastle Goes Down 1966 acrylic on canvas San Jose Museum of Art, California |
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| Willem De Kooning Woman 1962 oil on paper, mounted on board Hirshhorn Museum, Washington DC |
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| Sonia Delaunay Rythme Couleur 1961 gouache on paper Phillips Collection, Washington DC |
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| Burhan Dogançay Walls V-II 1969 lithograph Amon Carter Museum of American Art, Fort Worth, Texas |
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| Robert Remsen Vickrey America's Atomic Arsenal 1963 tempera on board (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| Robert Remsen Vickrey Twenty-Five and Under 1966 tempera and ink on board (commissioned by Time magazine) National Portrait Gallery, Washington DC |
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| Tom Wesselmann 3-D Drawing (for Still Life no. 42) 1964 assemblage of objects gessoed, painted and mounted on wood panel Blanton Museum of Art, Austin, Texas |
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| Zao Wou-ki Composition 1967 lithograph Moderna Museet, Stockholm |
BYRON, GEORGE GORDON, LORD (1788-1824) – Usually much undervalued as a prosodist, even by those who admire him as a poet. Really of great importance in this respect, owing to the variety, and in some cases novelty, of his accomplishment, and to its immense popularity. His Spenserians in Childe Harold not of the highest class, but the light octaves of Beppo and Don Juan the very best examples of the metre in English. Some fine but rhetorical blank verse, and a great deal of fluent octosyllabic couplet imitated from Scott. But his lyrics of most importance, combining popular appeal with great variety, and sometimes positive novelty, of adjustment and cadence. Diction is his weakest point.
– George Saintsbury, from Historical Manual of English Prosody (1910)