Allies

Jean Perréal (Master of Moulins)
Marriage Portraits of a Couple
ca. 1493
oil on panels
Musée du Louvre

George John Pinwell
The Earl o' Quarterdeck
1871
watercolor and gouache on paper
Ashmolean Museum, Oxford

Andrea Previtali and Agostino Facheris
St Catherine of Alexandria and St Irene
1525
oil on panels (detail of altarpiece)
Chiesa di Santo Spirito, Bergamo

Jean-François Raffaelli
Pomeridiano
ca. 1880
oil on canvas
Art Institute of Chicago

Oscar Gustave Rejlander
Mary Constable and her Brother
ca. 1866
albumen silver print from glass negative
Metropolitan Museum of Art, New York

George Richmond after Thomas Gainsborough
Portrait of Mary and Margaret Gainsborough
ca. 1870
drawing
British Museum

Auguste Rodin
Two Figures
(early study for The Gates of Hell)
ca. 1880
drawing
British Museum

Alberto Savinio
The Parents
1946
tempera on board
Galleria d'Arte Maggiore, Bologna

Johann Richard Seel
Portrait of sisters Friderike and Betty Bloem
1841
oil on canvas
Musée du Louvre

Simeon Solomon
Until the Day Break
1869
drawing (print study for book illustration)
British Museum

Elisabeth Sonrel
Les Rameaux
1897
watercolor on paper
Ashmolean Museum, Oxford

Bartholomeus Spranger after Jan Harmensz Muller
Bacchus and Ceres
ca. 1597
drawing
British Museum

Théophile Alexandre Steinlen
Two Peasants
ca. 1885
drawing
British Museum

Bernardo Strozzi
Allegory of Spring and Summer
ca. 1635-40
oil on canvas
National Gallery of Ireland, Dublin

Madoka Takagi
Coney Island 65
1991
platinum-palladium print
National Gallery of Art, Washington DC

Henry Scott Tuke
Bathers
1919
graphite and watercolor on paper
Ashmolean Museum, Oxford

Weegee
Couple at Carnival
ca. 1942
gelatin silver print
Metropolitan Museum of Art, New York

Mutability

From low to high doth dissolution climb,

    And sink from high to low, along a scale

    Of awful notes, whose concord shall not fail;

A musical but melancholy chime,

Which they can hear that meddle not with crime,

    Nor avarice, nor over-anxious care.

    Truth fails not; but her outward forms that bear

The longest date do melt like frosty rime,

That in the morning whitened hill and plain

And is no more; drop like the tower sublime

    Of yesterday, which royally did wear

His crown of weeds, but could not e'en sustain

    Some casual shout that broke the silent air,

Or the unimagineable touch of Time. 

– William Wordsworth (1821)