Pattern Making

Anonymous German Artist
Virgin and Child
with Emblems of the Four Evangelists
15th century
hand-colored woodcut
Graphische Sammlung Albertina, Vienna

Anonymous German Artist
Battle Scene
ca. 1475-1500
hand-colored woodcut
Herzog August Bibliothek, Wolfenbüttel

Anonymous Italian Artist
Acanthus Frieze
ca. 1550-1600
drawing
Graphische Sammlung Albertina, Vienna

Ignazio Danti
Ornamented Inscription
ca. 1575-85
fresco
(text element - Salento Peninsula map)
Galleria della Carte Geografiche, Musei Vaticani, Rome

Hans Rogel
The Crucifixion
ca. 1580
hand-colored woodcut
Herzog August Bibliothek, Wulfenbüttel

Anonymous Artist
Pressmark of Eustache Vignon of Geneva
1602
woodcut and letterpress
Museum für Angewandte Kunst, Vienna

Giovanni Battista Galestruzzi after Polidoro da Caravaggio
Frieze of Roman Artifacts
before 1677
etching
(after exterior fresco in Rome)
Herzog August Bibliothek, Wulfenbüttel

Karl Schmidt
Diagrams for Half-Spiral Staircase
ca. 1825-35
drawing, with added watercolor
Museum für Angewandte Kunst, Vienna

Ethel Reed
Miss Träumerei
(novel by Albert Morris Bagby)
1895
lithograph
(poster - proof before lettering)
Kunstbibliothek, Staatliche Museen zu Berlin

Helmuth Macke
Haystacks in Sindelsdorf
ca. 1909
tempera on cardboard
Museum Penzberg, Germany

Alfred Wickenburg
Diana and Actaeon
1921
oil on canvas
Leopold Museum, Vienna

Paul Strand
Fern, New England
1928
platinum print
Amon Carter Museum, Fort Worth, Texas

Hugh Henry Breckenridge
Italian Fruit Dish
1931
oil on canvas
Amon Carter Museum, Fort Worth, Texas

Lee Krasner
Abstract no. 2
ca. 1946-48
oil on canvas
Institut Valencià d'Art Modern

Patrick Caulfield
Still Life Ingredients
1976
screenprint
Göteborgs Konstmuseum, Sweden

Piotr Müller
House of an Art Collector
2010
installation (painted wood)
Museum de Fundatie, Zwolle, Netherlands

Charmion  

     He bid me say, he knew himself so well,

     He could deny you nothing if he saw you,

     And therefore –

Cleopatra              Thou wouldst say, he would not see me?

Charmion

     And therefore begged you not to use a power

     Which he could ill resist; yet he should ever

     Respect you as he ought.

Cleopatra                            Is that a word

     For Antony to use to Cleopatra?

     Oh that faint word, 'respect'! How I disdain it!

     Disdain myself, for loving after it!

     He should have kept that word for cold Octavia,

     Respect is for a wife: am I that thing,

     That dull, insipid lump, without desires,

     And without power to give 'em?

Alexas                                             You misjudge:

     You see through love, and that deludes your sight

     As what is straight seems crooked through the water;

     But I, who bear my reason undisturbed,

     Can see this Antony, this dreaded man,

     A fearful slave who fain would run away,

     And shuns his master's eyes. If you pursue him,

     My life on't, he still drags a chain along,

     That needs must clog his flight.

Cleopatra                                       Could I believe thee! –

Alexas

     By every circumstance I know he loves.

     True, he's hard pressed by interest and by honour;

     Yet he but doubts, and parleys, and casts out

     Many a long look for succour. 

Cleopatra                                    He sends word

     He fears to see my face.

Alexas                                 And would you more?

     He shows his weakness who declines the combat,

     And you must urge your fortune. Could he speak

     More plainly? To my ears the message sounds:

     'Come to my rescue, Cleopatra, come;

     Come, free me from Ventidius, from my tyrant:

     See me, and give me a pretence to leave him!'

     I hear his trumpets. This way he must pass.

     Please you, retire a while; I'll work him first,

     That he may bend more easy.    

– John Dryden, All for Love (1677)