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| Johann Reger War Galleys Advancing 1496 woodcut and letterpress Graphische Sammlung Albertina, Vienna |
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| Ignaz Raffalt Boat Trip after the Rain 1849 oil on panel Liechtenstein Museum, Vienna |
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| Albert Pinkham Ryder Homeward Bound ca. 1883-84 oil on canvas, mounted on panel Phillips Collection, Washington DC |
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| Georges Seurat Study of the Seine from La Grande Jatte 1888 oil on panel Musée Fin-de-Siècle, Brussels |
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| Arthur Rackham In the Austrian Tyrol 1901 watercolor on paper Agnes Etherington Art Centre, Kingston, Ontario |
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| Antoine Ponchin Houses on the Water at Martigues ca. 1905 oil on canvas Musée des Beaux-Arts de Nîmes |
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| Tom Thomson A Northern Lake 1914 oil on panel Art Gallery of Ontario, Toronto |
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| Donna Schuster Garden Reflections ca. 1925 oil on canvas Crocker Art Museum, Sacramento, California |
-Ch%C3%A2teau-de-Courances-Garden-Fountain-1936-hand-colored-lantern-slide-Archives-of-American-Gardens-Washington-DC.jpg) |
| Williams, Brown & Earle (Philadelphia) Garden Fountain, Château de Courances 1936 hand-colored lantern slide Archives of American Gardens, Washington DC |
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| Angelo Pinto Icarus ca. 1944 painted glass Barnes Foundation, Philadelphia |
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| Arthur Tress Boy Under Bridge, Queens N.Y. 1970 gelatin silver print Whitney Museum of American Art, New York |
-c1978-A-screenprint-on-paper-bag-Cooper-Hewitt-Smithsonian-Design-Museum.jpg) |
| Michaele Vollbracht (designer) Shopping Bag from Bloomingdale's, New York ca. 1978 screenprint on paper bag Cooper Hewitt, Smithsonian Design Museum |
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| Joanne Tod Chapeau Entaillé 1989 oil on canvas Art Gallery of Ontario, Toronto |
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| Hiroshi Sugimoto Tasman Sea, Ngarupupu 1990 gelatin silver print Guggenheim Museum, New York |
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| Ed Pien Pond #6 1993 oil on canvas Agnes Etherington Art Centre, Kingston, Ontario |
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| Jack Stuppin Window Rock 1995 acrylic on canvas San Jose Museum of Art, California |
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| Lucas Samaras Conflict 23 2003 inkjet print Whitney Museum of American Art, New York |
Large Bad Picture
Remembering the Strait of Belle Isle or
some northerly harbor of Labrador,
before he became a schoolteacher
a great uncle painted a big picture.
Receding for miles on either side
into a flushed, still sky
are overhanging pale blue cliffs
hundreds of feet high,
their bases fretted by little arches,
the entrance to caves
running in along the level of a bay
masked by perfect waves.
On the middle of that quiet floor
sits a fleet of small black ships,
square-rigged, sails furled, motionless,
their spars like burnt match-sticks.
And high above them, over the tall cliffs'
semi-translucent ranks,
are scribbled hundreds of fine black birds
hanging in n's in banks.
One can hear their crying, crying,
the only sound there is
except for occasional sighing
as a large aquatic animal breathes.
In the pink light
the small red sun goes rolling, rolling,
round and round and round at the same height
in perpetual sunset, comprehensive, consoling,
while the ships consider it.
Apparently they have reached their destination.
It would be hard to say what brought them there,
commerce or contemplation.
– Elizabeth Bishop (1946)