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| Georgia O'Keeffe Purple Leaves 1922 oil on canvas, mounted on panel Dayton Art Institute, Ohio |
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| Mira Edgerly Korzybska The Time Binder 1922 oil paint on ivory Art Institute of Chicago |
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| William McGregor Paxton Woman with Red Hair 1922 oil on canvas Seattle Art Museum |
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| Pierre Bonnard Place Clichy 1922 lithograph Clark Art Institute, Williamstown, Massachusetts |
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| Henri Matisse Le Coffret Chinois 1922 oil on canvas Barnes Foundation, Philadelphia |
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| Uno Falkengren Woman with Veil 1922 gelatin silver print Moderna Museet, Stockholm |
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| Heinrich Davringhausen Portrait of a Man 1922 oil on canvas Von der Heydt Museum, Wuppertal |
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| André Bauchant Camels in the Desert 1922 oil on canvas Clemens-Sels Museum, Neuss, Germany |
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| Juan Gris Pierrot 1922 oil on canvas Von der Heydt Museum, Wuppertal |
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| Alexander Kuprin Artificial Flowers on Black Ground 1922 oil on canvas Museum Ludwig, Cologne |
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| Wassily Kandinsky Small World VII 1922 lithograph McNay Art Museum, San Antonio, Texas |
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| Piet Mondrian Composition with Yellow-Blue and Blue-White 1922 oil on canvas Menil Collection, Houston |
-Costume-Design-for-revival-1922-watercolor-and-gouache-on-paper-McNay-Art-Museum-San-Antonio-Texas.jpg) |
| Léon Bakst Costume Design for revival of Le Dieu Bleu (Ballets Russes production) 1922 watercolor and gouache on paper McNay Art Museum, San Antonio, Texas |
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| Henrietta Mary Shore Waterfall 1922 oil on canvas Dallas Museum of Art |
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| Sergey Sudyekin Poster Design for Chauve Souris Theatre, Paris 1922 gouache and collage on board McNay Art Museum, San Antonio, Texas |
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| Édouard Vuillard La Salle Clarac au Louvre 1922 pastel on paper, mounted on panel Cabinet d'Arts Graphiques des Musées d'Art et d'Histoire, Genève |
from Circe
Her Telepathic-Station transmits thought-waves
the second-rate, the bored, the disappointed,
and any of us when tired or uneasy,
are tuned to receive.
So, though unlisted in atlas or phone-book,
Her Garden is easy to find. In no time
one reaches the gate over which is written
large: Make Love Not War.
Inside it is warm and still like a drowsy
September day, though the leaves show no sign of
turning. All around one notes the usual
pinks and blues and reds,
a shade over-emphasised. The rose-bushes
have no thorns. An invisible orchestra
plays the Great Masters: the technique is flawless,
the rendering schmaltz.
Of Herself no sign. But, just as the pilgrim
is starting to wonder "Have I been hoaxed by
a myth?", he feels Her hand in his and hears Her
murmuring: At last!
– W.H. Auden (1969)