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| Eugène Atget Saint Cloud 1926 albumen silver print from glass negative National Gallery of Canada, Ottawa |
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| Eugène Atget Saint Cloud, Acacia ca. 1919-21 albumen silver print from glass negative National Gallery of Canada, Ottawa |
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| Eugène Atget Arbre ca. 1900 gelatin silver print from glass negative Fralin Museum of Art, Charlottesville, Virginia |
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| Eugène Atget Artichoke Thistles ca. 1919-21 gelatin silver print from glass negative Fralin Museum of Art, Charlottesville, Virginia |
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| Patrick Caulfield Que ma vie fait envie 1973 screenprint Lowe Art Museum, University of Miami |
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| Patrick Caulfield Sausage 1978 screenprint Weatherspoon Art Museum, Greensboro, North Carolina |
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| Patrick Caulfield Vase on Display 1970-71 screenprint Fralin Museum of Art, Charlottesville, Virginia |
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| Patrick Caulfield We Wanted To Bleed The Silence 1973 screenprint Fralin Museum of Art, Charlottesville, Virginia |
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| Frans Francken the Younger Cabinet of a Collector 1619 oil on panel Royal Museum of Fine Arts, Antwerp |
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| Frans Francken the Younger Family seated in their Picture Gallery ca. 1628-29 oil on panel Royal Museum of Fine Arts, Antwerp |
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| Frans Francken the Younger The Road to Calvary, with St Veronica 1617 oil on panel Princeton University Art Museum |
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| Frans Francken the Younger The Road to Calvary, with St Veronica ca. 1612 oil on panel Staatsgalerie im Schloss Johannisburg, Aschaffenburg |
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| Berthe Morisot Girl in a Garden ca. 1888-93 oil on canvas Musée des Augustins de Toulouse |
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| Berthe Morisot In a Park ca. 1874 pastel on paper, mounted on canvas Musée du Petit Palais, Paris |
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| Berthe Morisot In a Villa at the Seaside 1874 oil on canvas Norton Simon Museum, Pasadena, California |
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| Berthe Morisot Paule Gobillard painting 1887 oil on canvas Musée Marmottan Monet, Paris |
from Part Two of The Age of Anxiety
Malin went on, spoke of the Fourth Age:
Now unreckoned with, rough, his road descends
From the haughty and high, the humorless places
His dreams would prefer, and drops him till,
As his forefathers did, he finds out
Where his world lies. By the water's edge,
From the haughty and high, the humorless places
His dreams would prefer, and drops him till,
As his forefathers did, he finds out
Where his world lies. By the water's edge,
The unthinking flood, down there, yes, is his
Proper place, the polychrome Oval
With its kleig lights and crowd engineers,
Proper place, the polychrome Oval
With its kleig lights and crowd engineers,
The mutable circus where mobs rule
The arena with roars, the real world of
Theology and horses, our home because
Theology and horses, our home because
In that doubt-condemning dual kingdom
Signs and insignia decide our cause,
Fanatics of the Egg or Knights sworn to
Signs and insignia decide our cause,
Fanatics of the Egg or Knights sworn to
Die for the Dolphin, and our deeds wear
Heretic green or orthodox blue,
Safe and certain.
Rosetta said:
Too soon we embrace that
Impermanent appetitive flux,
Humorous and hard, which adults fear
Is real and right, the irreverent place,
The clown's cosmos.
– W.H. Auden (1944-46)