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| Weegee VJ Day Parade in Little Italy 1945 gelatin silver print Fralin Museum of Art, Charlottesville, Virginia |
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| Ángel Bracho Victoria 1945 linocut and letterpress Weatherspoon Art Museum, Greensboro, North Carolina |
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| Nikolai Fedorovich Denisovskii Victory! 1945 stencil-print and letterpress Art Institute of Chicago |
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| Dmitry Baltermants Agfa, Berlin (Russian officer posed with mannequins) 1945 gelatin silver print Akron Art Museum, Ohio |
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| Pablo Picasso Still Life with Skull 1945 oil on canvas Menil Collection, Houston |
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| Robert Motherwell Untitled 1945 watercolor and ink on paper North Carolina Museum of Art, Raleigh |
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| Josef Albers Kinetic V 1945 oil on panel North Carolina Museum of Art, Raleigh |
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| Anonymous Photographer Woman and Girl posed on Front Walk 1945 hand-colored gelatin silver print Art Institute of Chicago |
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| Milton Avery The Card Players 1945 oil on canvas Blanton Museum of Art, Austin, Texas |
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| Gerald Brockhurst The Basque Boy 1945 lithograph Frye Art Museum, Seattle |
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| Serge Charchoune Fourchettes 1945 oil on canvas Museum de Fundatie, Zwolle, Netherlands |
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| Marshall Glasier The Boat Ride 1945 oil on board Madison Museum of Contemporary Art, Wisconsin |
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| Albert Gleizes Composition 1945 screenprint Lowe Art Museum, University of Miami |
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| Georgia O'Keeffe Cebolla Church 1945 oil on canvas North Carolina Museum of Art, Raleigh |
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| David Smith Classic Figure III 1945 bronze North Carolina Museum of Art, Raleigh |
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| Rockwell Kent Endless Energy for Limitless Living 1945 oil on canvas (advertising image for the coal industry) Dayton Art Institute, Ohio |
from Dichtung und Wahrheit (An Unwritten Poem)
IV
It would not be enough that I should believe that what I had written was true: to satisfy me, the truth of this poem must be self-evident. It would have to be written, for example, in such a way that no reader could misread I love You as "I love you."
V
If I were a composer, I believe I could produce a piece of music which would express to a listener what I mean when I think the word love, but it would be imposible for me to compose it in such a way that he would know that this love was felt for You (not for God, or my mother, or the decimal system). The language of music is, as it were, intransitive, and it is just this intransitivity which makes it meaningless for a listener to ask – "Does the composer really mean what he says, or is he only pretending?"
VI
If I were a painter, I believe I could paint a portrait that would express to an onlooker what I mean when I think the word You (beautiful, loveable, etc.), but it would be impossible for me to paint it in such a way that he would know that I loved You. The language of painting lacks, as it were, the Active Voice, and it is just this objectivity which makes it meaningless for an onlooker to ask – "Is this really a portrait of N (not of a young boy, a judge or a locomotive in disguise)?"
– W.H. Auden (1959)