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| Mark Rothko No. 7 1951 oil on canvas private collection |
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| Manolis Polymeris Figure in Red 1951 oil on panel National Gallery, Athens |
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| John Piper Study for Shobdon Folly 1951 watercolor, gouache and collage on paper Albright-Knox Art Gallery, Buffalo, New York |
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| Aldo Pagliacci Interior of a Church in Flames 1951 oil on panel Southampton City Art Gallery, Hampshire |
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| Roy Lichtenstein Roping the Brahman 1951 oil on canvas Lowe Art Museum, University of Miami |
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| Fernand Léger Les Constructeurs 1951 oil on canvas Menil Collection, Houston |
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| Yousuf Karsh Advertising Shot for Ford of Canada 1951 gelatin silver print Art Institute of Chicago |
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| Raoul Dufy Tucson Square Dance 1951 watercolor on paper Milwaukee Art Museum |
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| Robert Doisneau Les Géants du Nord 1951 gelatin silver print Akron Art Museum, Ohio |
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| John Craxton The Dancer 1951 oil on canvas Jerwood Collection, London |
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| Forrest Bess View of Maya 1951 oil on canvas Menil Collection, Houston |
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| Francis Bacon Pope I 1951 oil on canvas Aberdeen Art Gallery, Scotland |
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| Clare Atwood Self Portrait in a Hat with a Basket of Vegetables 1951 oil on canvas National Trust, Fenton House, London |
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| Hans Arp Dreams and Projects 1951 woodcut Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Karel Appel Child IV 1951 oil on canvas Kunstmuseum, The Hague |
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| Harold Allen Still Life in Stanley Mitruk's Studio 1951 gelatin silver print Art Institute of Chicago |
from Dichtung und Wahrheit (An Unwritten Poem)
XXIV
When his affair with Criseyde was going nicely, Troilus became an even fiercer warrior than before – "Save Ector most ydred of any wight" – but a gentler sportsman – "The smale bestes leet he gon biside." And we certainly sometimes say of an acquaintance who claims to have fallen in love: – "It must be true this time. He used to be so malicious about everybody but now, since he met N, he never utters an unkind word." But it is impossible to imagine a lover himself saying: – "It must be true that I love N because I am so much nicer now than I was before we met." (It is, perhaps, just possible to imagine him saying: – "I believe that N must really love me because she has made me so much nicer.")
XXV
In any case, this poem I should like to write is not concerned with the proposition "He loves Her" (where He and She could be fictitious persons whose characters and history the poet is free to idealize as much as he choose), but with my proposition I love You (where I and You are persons whose existence and histories could be verified by a private detective).
XXVI
It is a grammatical convention of the English language that a speaker should refer to himself as "I" and to the person he is addressing as "You", but there are many situations in which a different convention would serve equally well. It might be the rule, for example, when making polite conversation with strangers or when addressing public officials, to use the third person: – "Mr Smith likes cats, doesn't Miss Jones?"; "Can the honourable conductor tell the humble passenger when this train leaves?" There are many situations, that is to say, in which the use of the pronoun "I" and "You" is not accompanied by the I-feeling or the You-feeling.
– W.H. Auden (1959)