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| Elza Sunderland Textile Design - Palm Leaves ca. 1950 tempera on paper Los Angeles County Museum of Art |
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| Elza Sunderland Textile Design - Half-Circles on Diagonal ca. 1950 tempera on board Los Angeles County Museum of Art |
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| Elza Sunderland Textile Design - Dig the Loot ca. 1945-50 tempera and ink on paper Los Angeles County Museum of Art |
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| Elza Sunderland Textile Design - Chess Men ca. 1954 tempera on paper Los Angeles County Museum of Art |
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| Guido Reni Virgin and Child ca. 1628-30 oil on canvas North Carolina Museum of Art, Raleigh |
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| Guido Reni St John the Baptist in the Wilderness ca. 1632-37 oil on canvas Galleria Sabauda, Turin |
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| Guido Reni Infant Christ asleep on the Cross before 1642 oil on canvas Liechtenstein Museum, Vienna |
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| Guido Reni Adam and Eve ca. 1620 oil on canvas Musée des Beaux-Arts de Dijon |
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| Gjon Mili Nell Rankin in Cavalleria Rusticana at the Met 1959 gelatin silver print San Diego Museum of Art |
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| Gjon Mili Dorian Leigh modeling Suit by Adele Simpson 1950 gelatin silver print San Diego Museum of Art |
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| Gjon Mili Dances at a Gathering (choreography by Jerome Robbins for New York City Ballet) 1969 gelatin silver print San Diego Museum of Art |
-an-Efficiency-Study-1941-gelatin-silver-print-San-Diego-Museum-of-Art.jpg) |
| Gjon Mili Assembling Nuts, Washers and-Bolts: an Efficiency Study 1941 gelatin silver print San Diego Museum of Art |
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| Richard Diebenkorn Untitled #9 ca. 1950 watercolor and gouache on paper Norton Simon Museum, Pasadena, California |
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| Richard Diebenkorn Bottles 1960 oil on canvas Norton Simon Museum, Pasadena, California |
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| Richard Diebenkorn Freeway and Aqueduct 1957 oil on canvas Los Angeles County Museum of Art |
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| Richard Diebenkorn Seated Woman 1964 watercolor on paper San Jose Museum of Art, California |
from Part Two of The Age of Anxiety
Emble said:
After a dreadful
Row with father, I ran with burning
Cheeks to the pasture and chopped wood, my
Stomach like a stone. I strode that night
Through wicked dreams: waking, I skipped to
The shower and sang, ashamed to recall
Cheeks to the pasture and chopped wood, my
Stomach like a stone. I strode that night
Through wicked dreams: waking, I skipped to
The shower and sang, ashamed to recall
With whom or how; the hiss of the water
Composed the tune, I supplied the words
For a fine dirge which fifty years hence
Massed choirs would sing as my coffin passed,
Grieved for and great on a gun-carriage.
Malin went on, spoke of the Third Age:
Such pictures fade as his path is blocked
By Others from Elsewhere, alien bodies
By Others from Elsewhere, alien bodies
Whose figures fasten on his free thoughts,
Ciphers and symbols secret to his flesh,
Uniquely near, needing his torments,
His lonely life, and he learns what real
Images are; that, however violent
Their wish to be one, that wild promise
Cannot be kept, their case is double;
Uniquely near, needing his torments,
His lonely life, and he learns what real
Images are; that, however violent
Their wish to be one, that wild promise
Cannot be kept, their case is double;
For each now of need ignores the other as
By rival routes of recognition
By rival routes of recognition
Diminutive names that midnight hears
Intersect upon their instant way
Intersect upon their instant way
To solid solitudes, and selves cross
Back to bodies, both insisting each
Back to bodies, both insisting each
Proximate place a pertinent thing.
So, learning to love, at length he is taught
To know he does not.
To know he does not.
– W.H. Auden (1944-46)