-Memphis-Brooks-Museum-of-Art-Tennessee.jpeg) |
| Jack Grue Still Life no. 16 1946 watercolor on ivory Memphis Brooks Museum of Art, Tennessee |
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| Charles Howard The First Hypothesis 1946 oil on canvas Menil Collection, Houston |
 Paul Landacre Children's Carnival 1946 wood-engraving Tacoma Art Museum |
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| Dorothea Tanning Guardian Angels 1946 oil on canvas New Orleans Museum of Art |
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| Fernand Léger The White Butterfly 1946 oil on canvas McNay Art Museum, San Antonio, Texas |
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| Francis Bacon Figure Study I 1946 oil on canvas Scottish National Gallery of Modern Art, Edinburgh |
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| Max Beckmann Dressing Room 1946 oil on canvas Kunsthaus Zürich |
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| David Bomberg Sunset, The Bay, North Devon 1946 oil on canvas Laing Art Gallery, Newcastle upon Tyne |
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| Arvid Fougstedt Mother and Child 1946 oil on canvas Moderna Museet, Stockholm |
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| Dod Procter Autumn Flowers 1946 oil on canvas Royal Academy of Arts, London |
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| Tristram Hillier Quantoxhead 1946 oil on panel Scottish National Gallery of Modern Art, Edinburgh |
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| Clare Leighton Clam Diggers 1946 wood-engraving Wichita Art Museum, Kansas |
-The-Bunk-1946-wood-engraving-Blanton-Museum-of-Art-Austin-Texas.jpeg) |
| Bernard Brussel-Smith The Bunk 1946 wood-engraving Blanton Museum of Art, Austin, Texas |
-1946-watercolor-and-gouache-on-paper-McNay-Art-Museum-San-Antonio-Texas.jpg) |
| Eugene Berman Stage Design for ballet Armida 1946 watercolor and gouache on paper McNay Art Museum, San Antonio, Texas |
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| Rein Draijer The Yellow Chair 1946 oil on canvas Kunstmuseum, The Hague |
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| Walker Evans Victorian Building, South Side, Chicago 1946 gelatin silver print Art Institute of Chicago |
from Dichtung und Wahrheit (An Unwritten Poem)
VII
The "symboliste" attempt to make poetry as intransitive as music, can get no further than the narcissistic reflexive – "I love Myself"; the attempt to make poetry as objective as painting can get no further than the single comparison "A is like B", "C is like D", "E is like F" . . . No "imagist" poem can be more than a few words long.
VIII
As an artistic language, Speech has many advantages – three persons, three tenses (Music and Painting have only the Present Tense), both the active and the passive voice – but it has one serious defect: it lacks the Indicative Mood. All its statements are in the subjunctive and only possibly true until verified (which is not always possible) by non-verbal evidence.
IX
First I write I was born in York; then, I was born in New York: to discover which statement is true and which false, it is no use studying my handwriting.
X
I can imagine a forger clever enough to imitate another's signature so exactly that a handwriting expert would swear in court that it was genuine, but I cannot imagine a forger so clever that he could imitate his own signature inexactly enough to make a handwriting expert swear that it was a forgery. (Or is it only that I cannot imagine the circumstances in which anyone could want to do such a thing?)
– W.H. Auden (1959)