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| Oskar Kokoschka Posy Croft 1939 oil on canvas Scottish National Gallery of Modern Art, Edinburgh |
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| Rockwell Kent Citadel 1932-33 oil on canvas National Gallery of Art, Washington DC |
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| Adolph Gottlieb Sun Deck 1936 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Don Freeman False Alarm 1934 lithograph Smithsonian American Art Museum, Washington DC |
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| Walker Evans Subway Passengers ca. 1938 gelatin silver print Metropolitan Museum of Art, New York |
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| Arshile Gorky Untitled 1936 oil on canvas Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Karl Knaths Maritime 1931 oil on canvas Phillips Collection, Washington DC |
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| Brassaï Kiki de Montparnasse avec ses amies Thérèse et Lily 1932 gelatin silver print Metropolitan Museum of Art, New York |
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| Hans Bellmer La Poupée ca. 1934-35 gelatin silver print Metropolitan Museum of Art, New York |
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| Jacob Kainen Invasion 1936 oil on canvas National Gallery of Art, Washington DC |
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| Jean Hélion Equilibre 1933-34 oil on canvas Peggy Guggenheim Collection, Venice |
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| John Gutmann The Aerialists 1938 gelatin silver print Metropolitan Museum of Art, New York |
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| André Kertész Pont Neuf 1931 gelatin silver print Metropolitan Museum of Art, New York |
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| Walt Kuhn Green Apples and Scoop 1939 oil on canvas National Gallery of Art, Washington DC |
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| Paul Klee New Harmony 1936 oil on canvas Guggenheim Museum, New York |
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| Ilse Bing Moulin Rouge, Paris 1931 gelatin silver print Metropolitan Museum of Art, New York |
-A-H%C3%B4tel-de-Ville-Arras.JPG) |
| Charles Hoffbauer Scènes de la vie des Arrageois au XVIe siècle 1932 oil on canvas (detail of mural) Hôtel de Ville, Arras |
I thank God, amongst those millions of vices I do inherit and hold from Adam, I have escaped one, and that a mortal enemy of Charity, the first and father sin, not only of man, but of the devil, Pride, a vice whose name is comprehended in a Monosyllable, but in its nature not circumscribed with a world. I have escaped it in a condition that can hardly avoid it: these petty acquisitions and reputed perfections that advance and elevate the conceits of other men add no feathers unto mine. I have seen a Grammarian tower and plume himself over a single line in Horace, and shew more pride in the construction of one ode than the Author in the composure of the whole book. For my own part, besides the jargon and patois of several provinces, I understand no less than six languages, yet I protest I have no higher conceit of my self than had our Fathers before the confusion of Babel, when there was but one Language in the world, and none to boast himself either Linguist or Critic. I have not only seen several countries, beheld the nature of their climes, the chorography of their provinces, topography of their cities, but understood their several laws, customs and policies; yet cannot all this persuade the dullness of my spirit unto such an opinion of my self as I behold in nimbler and conceited heads that never looked a degree beyond their nests. I know the names and somewhat more of all the constellations in my horizon, yet I have seen a prating mariner, that could only name the Pointers and the North Star, out-talk me, and conceit himself a whole sphere above me.
– Sir Thomas Browne, from Religio Medici (1642)