Julia Margaret Cameron

Julia Margaret Cameron
Portrait of Julia Jackson
ca. 1864-65
albumen print
Art Institute of Chicago

Julia Margaret Cameron
Portrait of Julia Jackson
ca. 1867
albumen print
Art Institute of Chicago

Julia Margaret Cameron
Portrait of Julia Jackson
(future mother of Virginia Woolf)
1874
albumen print
Art Institute of Chicago

Julia Margaret Cameron
Portrait of Christina Spartali
ca. 1865-70
albumen print
Freer Gallery of Art, Washington DC

Julia Margaret Cameron
Portrait of Mary Fisher
1867
albumen print
Art Institute of Chicago

Julia Margaret Cameron
Saint Joan
1872
albumen print
National Museum of American History,
Washington DC

Julia Margaret Cameron
Portrait of Annie Chinery Cameron
(Julia Margaret Cameron's daughter-in-law)
ca. 1869-70
albumen print
National Museum of American History,
Washington DC

Julia Margaret Cameron
Mary Hillier (The Dream)
1869
albumen print
National Museum of American History,
Washington DC

Julia Margaret Cameron
May Prinsep (Isabel)
1870
albumen print
National Museum of American History,
Washington DC

Julia Margaret Cameron
On Wings of Morning
1877
albumen print
National Museum of American History,
Washington DC

Julia Margaret Cameron
The God of Love
ca. 1865
albumen print
National Museum of American History,
Washington DC

 

Julia Margaret Cameron
Portrait of James Thomas Fields
(American publisher)
1869
albumen print
National Portrait Gallery, Washington DC

Julia Margaret Cameron
Portrait of Henry Wadsworth Longfellow
1868
albumen print
National Portrait Gallery, Washington DC

Julia Margaret Cameron
Prospero and Miranda
ca. 1865
albumen print
National Museum of American History, Washington DC

Julia Margaret Cameron
English Flowers
1873
albumen print
National Gallery of Australia, Canberra

Julia Margaret Cameron
And Enid Sang
1874
albumen print
National Gallery of Australia, Canberra

from Metamorphoses

The Clods, as if Inform'd with some new Soul,

Forthwith take motion, and begin to rowl;

First tops of Lances pierce the teeming Ground,

Whose very Birth tells they are made to Wound:

Then rising Casks their painted Crests display

Whose Form at once shews terrible and gay:

Next may he Shoulders, Breasts, and Arms descry,

Whose brandish'd Spears proclaim some Battle nigh:

Until at length in perfect view appears

A growing Harvest of young Cuirassiers.

Thus we in Theaters, the Scenes withdrew,

When some more solemn Spectacle they shew,

See Images in slow Machines arise,

Still mounting by insensible degrees;

New-peeping Heads our longing View first greet,

And humble Faces levell with our Feet:

Next gliding Trunks are in soft order shown,

And neather Limbs heave upper gently on;

So still their Motion, their Ascent so slow,

You'd justly think they did not move, but grow:

At last their sluggish Feet advanc'd in sight,

Present as Statues in full Bulk and Height:

Mean while we struck with fix'd Amazement stare,

And marvel what strange Conveyance brought 'em there,

Made by Surprize more Statues then they are:

No less astonished doubtfull Cadmus gaz'd,

Doubly, by Wonder, and by Fear amaz'd. 

– Ovid (43 BC-AD 17), translated by John Oldham (before 1683)

Paradigms (Western)

Edvard Munch
Kneeling Nude
ca. 1920-23
oil on canvas
Hirshhorn Museum, Washington DC

Romaine Brooks
Portrait of arts patron Baroness Catherine d'Erlanger
ca. 1924
oil on canvas
Smithsonian American Art Museum, Washington DC

Matthew Smith
La Chemise Jaune
1924-25
oil on canvas
Art Gallery of New South Wales, Sydney

André Derain
Mano the Dancer
ca. 1924-28
oil on canvas
Phillips Collection, Washington DC

Georges Barbier
Le Printemps
1925
lineblock and pochoir (fashion plate)
Cooper Hewitt, Smithsonian Design Museum

John Lavery
Portrait of Lila Lancashire
ca. 1925
oil on canvas
Museum of Fine Arts, Boston

Man Ray
Kiki de Montparnasse (Alice Prin)
ca. 1925
gelatin silver print
Smithsonian American Art Museum, Washington DC

Sybil Craig
Portrait Study of a Woman
1926
drawing
National Gallery of Australia, Canberra

Nickolas Muray
Judith Anderson in Behold the Bridegroom
ca. 1927
gelatin silver print
National Portrait Gallery, Washington DC

George Luks
The Polka-Dot Dress
1927
oil on canvas
Smithsonian American Art Museum,
Washington DC

Augustus John
Tallulah Bankhead
1930
oil on canvas
National Portrait Gallery, Washington DC

Edward Steichen
Anna May Wong
1930
gelatin silver print
National Portrait Gallery, Washington DC

Marty Mann
Portrait of photograph Barbara Ker-Seymer
ca. 1930
gelatin silver print
Loeb Art Center, Vassar College, Poughkeepsie, New York

Raphael Soyer
Portrait of Rebecca
ca. 1930
oil on canvas
Portland Art Museum, Oregon

Harold Weston
The Spider
ca. 1930-31
oil on canvas
Wichita Art Museum, Kansas

Alma Lavenson
Portrait of photographer Consuelo Kanaga
1931
gelatin silver print
National Portrait Gallery, Washington DC

Alfred J. Frueh
Katharine Cornell
1931
drawing
(caricature commissioned by the New Yorker)
National Portrait Gallery, Washington DC

ALLITERATION – The repetition of the same letter at the beginning or (less frequently) in the body of different words in more or less close juxtaposition to each other.  This, which appears slightly, but very slightly, in classical poetry, has always been a great feature of English.  During the Anglo-Saxon period universally, and during a later period (after an interval which almost certainly existed, but the length of which is uncertain) partially, it formed, till the sixteenth century, a substantive and structural part of English prosody.  Later, it became merely an ornament, and at times, especially in the eighteenth century, has been disapproved.  But it forms part of the very vitals of the language, and has never been more triumphantly used than in the late nineteenth century by Mr. Swinburne. 

– George Saintsbury, from Historical Manual of English Prosody (1910)

Pensive - I

Anders Zorn
Portrait of Fredrik Martin
1907
etching
Göteborgs Konstmuseum, Sweden

Siggen Stinessen
Portrait of a Man
1978
gelatin silver print
Nordnorsk Kunstmuseum, Tromsø

Max Slevogt
Portrait of Frau Erler
1895
oil on canvas
Von der Heydt Museum, Wuppertal

Johann Martin Schuster
Académie
ca. 1690-1700
drawing
Staatliche Kunsthalle, Karlsruhe

Hermann Prell
Study of Model
(for decoration of New Town Hall, Dresden)
1911
oil on board
Galerie Neue Meister (Albertinum), Dresden

Hendrik Pothoven
Interior with Woman at Table
ca. 1760
oil on panel
Amsterdam Museum

Johann Friedrich Overbeck
Portrait of Vittoria Caldoni
(artist's model in Rome)
1821
oil on canvas
Neue Pinakothek, Munich

Philippe Jolyet
The Daughter of the Antiquary
1907
oil on canvas
Musée Bonnat-Helleu, Bayonne

Augustus John
Half-Length Figure Study
ca. 1908
drawing
Yale Center for British Art

Abraham Janssens
St Jerome
1613
oil on canvas
Chrysler Museum of Art, Norfolk, Virginia

Denise Grünstein
Untitled
1983
gelatin silver print
Moderna Museet, Stockholm

Gerbrand van den Eeckhout
Study of Seated Youth
ca. 1670
drawing
Morgan Library, New York

Eugène Carrière
Meditation
ca. 1890-93
oil on canvas
Ohara Museum of Art, Kurashiki, Japan

Gianfrancesco Caroto
St John the Evangelist on Patmos
ca. 1520
tempera on panel
Národní Galerie, Prague

Henri de Braekeleer
Interior with Seated Man
1876
oil on canvas
Royal Museum of Fine Arts, Antwerp

Jacques Blanchard
St Jerome
1632
oil on canvas
Museum of Fine Arts, Budapest

Setting out from there, we came to a green land where there were wild men like giants, round bodied with fiery faces, who looked like lions.  There were some others with them called Ochlitai who had no hair at all, four cubits high and a spear's length across.  And seeing us, they ran at us.  They wore lion skins and were extremely strong and quite ready to fight without weapons.  We struck them, and they struck us with staves, killing a considerable number of us.  I was afraid they were going to rout us; so I gave instructions to set fire to the wood.  And when they saw the fire, those fine specimens of men ran away.  They killed 180 soldiers of ours.  On the following day I decided to visit their caves.  We found beasts like lions tethered at their entrances – and they had three eyes.  And we saw fleas there leaping about like our frogs.  

– Pseudo-Callisthenes, from The Alexander Romance (2nd-4th century AD), translated from Greek by Ken Dowden (1989)

Harry Callahan

Todd Webb
Harry Callahan
1942
gelatin silver print
National Portrait Gallery, Washington DC

Harry Callahan
Light Abstraction
1947
gelatin silver print
Archives of American Art,
Washington DC

Harry Callahan
Untitled
(Plaster Figure by Hugo Weber)
1948
gelatin silver print
Archives of American Art, Washington DC

Harry Callahan
Lake Michigan
1949
gelatin silver print
Phillips Collection, Washington DC

Harry Callahan
Card Shop, Chicago
1949
dye transfer print
Phillips Collection, Washington DC

Harry Callahan
Drawing in Space with a Flashlight
ca. 1950
gelatin silver print
Archives of American Art, Washington DC

Harry Callahan
Untitled
1950
gelatin silver print
Princeton University Art Museum

Harry Callahan
Chicago
ca. 1951
dye transfer print
Whitney Museum of American Art, New York

Harry Callahan
Ragsdale Beauty
1951
dye transfer print
Phillips Collection, Washington DC

Harry Callahan
Aix-en-Provence
1957
gelatin silver print
Phillips Collection, Washington DC

Harry Callahan
Providence
1961
dye transfer print
Smithsonian American Art Museum, Washington DC

Harry Callahan
Siena
1968
gelatin silver print
Smithsonian American Art Museum, Washington DC

Harry Callahan
Rome
1968
gelatin silver print
Smithsonian American Art Museum, Washington DC

Harry Callahan
Cape Cod
1972
gelatin silver print
Smithsonian American Art Museum, Washington DC

Harry Callahan
Ireland
1979
dye transfer print
Smithsonian American Art Museum, Washington DC

Harry Callahan
Cape Cod
1980
dye transfer print
Smithsonian American Art Museum, Washington DC

Harry Callahan
Providence
1984
dye imbibition print
Princeton University Art Museum

Harry Callahan
Providence
1984
dye imbibition print
Princeton University Art Museum

from Metamorphoses

    While thus to unknown pow'rs Cephisa pray'd,

Victorious Pan o'ertook the fainting maid.

Around her waste his eager arms he throws,

With love and joy his throbbing bosom glows;

When, wonderful to tell, her form receives

A verdant cov'ring of expanded leaves;

Then shooting downward trembling to the ground

A fibrous root her slender ancles bound;

Strange to herself as yet aghast she stands,

And to high Heav'n she rears her spotless hands;

These while she spread them still in spires extend,

Till in small leaves her taper fingers end;

Her voice she tries; but utt'rance is deny'd,

The smother'd sounds in hollow murmurs dy'd;

At length, quite chang'd, the God with wonder view'd

A beauteous plant arising where she stood;

This from his touch with human sense inspir'd,

Indignant shrinking, of itself retir'd;

Yet Pan attends it with a lover's cares,

And fost'ring aid with tender hand prepares;

The new form'd plant reluctant seems to yield,

And lives the grace and glory of the field.

– Ovid (43 BC-AD 17), translated by John Gay (before 1732)