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| Odoardo Fialetti Young Students drawing from Casts 1608 etching (plate from published drawing manual) Graphische Sammlung, ETH Zürich |
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| Rosalba Carriera Portrait of a Boy ca. 1726-27 pastel on paper Gallerie dell'Accademia, Venice |
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| Thomas Gainsborough Portrait of John Heathcote ca. 1771-72 oil on canvas National Gallery of Art, Washington DC |
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| Julia Margaret Cameron My grandchild Archie Cameron aged Two years Three months 1865 albumen print San Francisco Museum of Modern Art |
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| James Faed The Artist's Son 1870 oil on panel Scottish National Portrait Gallery, Edinburgh |
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| Mary Cassatt Portrait of Eddy Cassatt 1875 oil on canvas National Gallery of Art, Washington DC |
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| Frederick Warren Freer Lady Bug 1887 etching and drypoint National Gallery of Art, Washington DC |
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| Frank Duveneck Portrait of a Boy 1888 oil on canvas Cincinnati Art Museum, Ohio |
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| Niccolò Cannicci Feeding the Ducks 1890 oil on canvas Museo Civico Giovanni Fattori, Livorno |
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| Wilhelm von Gloeden Sicilian Child 1899 albumen silver print from glass negative Metropolitan Museum of Art, New York |
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| William Merritt Chase Girl in a Middy Blouse 1902 oil on canvas (sketch) Milwaukee Art Museum, Wisconsin |
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| Daniel Garber Tanis Garber 1914 oil on canvas National Gallery of Art, Washington DC |
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| Giorgio di Chirico Portrait of giovinetto Aldo Castelfranco 1920 drawing Museum of Modern Art, New York |
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| Eliot Elisofon Olneyville Boys Club, R.I. 1940 gelatin silver print Metropolitan Museum of Art, New York |
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| Federico Castellan Roman Urchins ca. 1954 lithograph Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Mario Giacomelli Senigallia, Italy 1959 gelatin silver print Art Institute of Chicago |
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| Dan Friedman The Jacobs Collection 1990 offset-lithograph (book cover) San Francisco Museum of Modern Art |
from In Time of War (Commentary)
This is the epoch of the Third Great Disappointment:
The First was the collapse of that slave-owning empire
Whose yawning magistrate asked, 'What is truth?'
Upon its ruins rose the Universal Churches:
Men camped like tourists under their tremendous shadows,
United by a common sense of human failure,
Their certain knowledge only of the timeless fields
Where the Unchanging Happiness received the faithful,
And the Eternal Nightmare waited to devour the wicked.
In which a host of workers, famous and obscure,
Meaning to do no more than use their eyes,
Not knowing what they did, then sapped belief;
Put in its place a neutral dying star,
Where Justice could not visit. Self was the only city,
The cell where each must find his comfort and his pain,
The body nothing but a useful favorite machine
To go upon errands of love and to run the house,
While the mind in its study spoke with its private God.
– W.H. Auden (1938)