Showing posts with label 1960s. Show all posts
Showing posts with label 1960s. Show all posts

Saturday, May 16, 2026

Living Color

Charles Cushman
Republican National Convention, Hilton Hotel, San Francisco
1964
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Market & 2nd, San Francisco
1957
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Housing to be Demolished, Gough & Ellis, San Francisco
1959
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Demolition of Wells Fargo Building,
Market & Post, San Francisco

1966
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Up O'Farrell from Buchanan, San Francisco
1960
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Lyon & Pacific, San Francisco
1953
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Rhododendron Week, Union Square, San Francisco
1962
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Telegraph Hill, San Francisco
1957
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Haight Street, San Francisco
1967
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Hydrangea, Sea Cliff, San Francisco
1958
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Aeonium Holochrysum, Strybing Arboretum, San Francisco
1955
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Rhododendron, Strybing Arboretum, San Francisco
1953
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Magnolia, Strybing Arboretum, San Francisco
1960
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Cherry Blossoms, Strybing Arboretum, San Francisco
1953
Kodachrome slide
Indiana University Library, Bloomington

Charles Cushman
Clouds, San Francisco
1955
Kodachrome slide
Indiana University Library, Bloomington

And to me it seemeth that Agamemnon got together that fleet, not so much for that he had with him the suitors of Helen bound thereto by oath to Tindareus as for this, that he exceeded the rest in power.  For they that by tradition of their ancestors know the most certainty of the acts of the Peloponnesians say that first Pelops, by the abundance of wealth which he brought with him out of Asia to men in want, obtained such power amongst them, as, though he were a stranger, yet the country was called after his name; and that this power was also increased by his posterity.  For Eurystheus being slain in Attica by the Heracleidae, Atreus, that was his uncle by the mother, and was then abiding with him as an exiled person for fear of his father for the death of Chrysippus, and to whom Eurystheus, when he understood the expedition, had committed Mycenae and the government thereof, for that he was his kinsman; when as Eurystheus came not back (the Mycenians being willing to it for fear of the Heracleidae, and because he was an able man and made much of the common people) obtained the kingdom of Mycenae, and of whatsoever else was under Eurystheus, for himself; and the power of the Pelopides became greater than that of the Perseides.  To which greatness Agamemnon succeeding, and also far excelling the rest in shipping, took that war in hand, as I conceive it, and assembled the said forces, not so much upon favour as by fear.  For it is clear that he himself both conferred most ships to that action and that some also he lent to the Arcadians.  And this is likewise declared by Homer (if any think his testimony sufficient), who, at the delivery of the scepter unto him, calleth him, "of many isles and of all Argos king."  Now, he could not, living in the continent, have been lord of the islands, other than such as were adjacent which cannot be many, unless he had also had a navy.  And by this expedition we are to estimate what were those of the ages before it. 

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

Sunday, August 31, 2025

Expectedness (Sixties)

Jacob Lawrence
Dreams no. 2
1965
tempera on board
Smithsonian American Art Museum, Washington DC


James Henry Daugherty
Tensions and Rhythms
1968-69
oil on linen
Whitney Museum of American Art, New York

Sam Byrne
Dust Storm approaching Broken Hill
ca. 1960-65
enamel on board
Heide Museum of Modern Art, Bulleen, Australia

Arthur Osver
The Voyage
1961
oil paint and collage on canvas
Smithsonian American Art Museum, Washington DC

Jack Humphrey
Perry Point Ferry
1960
oil on canvas
New Brunswick Museum, Saint John

Perry Nichols
The Desk-Top of Jake Hamon
1966
oil on canvas
Dallas Museum of Art

John Hultberg
Monhegan Dock
1961
oil on canvas
Smithsonian American Art Museum, Washington DC

John Hultberg
Plain with Flag
ca. 1960
gouache on board
Smithsonian American Art Museum, Washington DC

John Fox
Atelier Rouge
ca. 1965
oil on canvas
Beaverbrook Art Gallery, Fredericton, New Brunswick

Donald Friend
Mountebanks
1965
lithograph
National Gallery of Australia, Canberra

Hassel Smith
Mousehole, Cornwall
1962
oil on canvas
Phoenix Art Museum, Arizona

Harry Soviak
Famille Noire
1968
lithograph
Cooper Hewitt, Smithsonian Design Museum

Jan Forsberg
Gust of Wind
1963
etching and aquatint
Art Institute of Chicago

Danny Lyon
Robert Frank and Mary Frank
1969
gelatin silver print
National Portrait Gallery, Washington DC

Helen Lessore
Portrait of art collector David Wilkie
1967
oil on canvas
Tate Modern, London

Eva Kubbos
The Sudden Wings of Blue
1962
color linocut
Art Gallery of New South Wales, Sydney

Eikoh Hosoe
Kamaitachi #26
1963
gelatin silver print
National Museum of Asian Art, Washington DC

POE, EDGAR (1809-1849) – The greatest master of original prosodic effect that the United States have produced, and an instinctively and generally right (though, in detail, hasty, ill-informed, and crude) essayist on points of prosodic doctrine.  Produced little, and that little not always equal; but at his best an unsurpassable master of music in verse and phrase. 

PRAED, WINTHROP MACKWORTH (1802-1839) – An early nineteenth-century Prior.  Not incapable of serious verse, and hardly surpassed in laughter.  His greatest triumph, the adaptation of the three-foot anapest, alternately hypercatalectic and acatalectic or exact, which had been a ballad-burlesque metre as early as Gay, had been partly ensouled by Byron in one piece, but was made his own by Praed, and handed down by him to Mr. Swinburne to be yet further sublimated. 

– George Saintsbury, from Historical Manual of English Prosody (1910)

Saturday, August 30, 2025

Expectedness (Sixties)

June Harwood
Blue Violet Green
ca. 1963
acrylic on canvas
Los Angeles County Museum of Art


David Hare
Cronus Grown
1968
acrylic paint, collage and oil stick on linen
Whitney Museum of American Art, New York

Joseph Hirsch
Painted Man
1963
lithograph
Whitney Museum of American Art, New York

Joseph Hirsch
Interior with Figures
1962
oil on linen
Whitney Museum of American Art, New York

Kees Timmer
Hyena
1960
oil on panel
Museum Boijmans Van Beuningen, Rotterdam

Richard Upton
Odalisque with Blue Trees
1968
gouache over lithograph
Smithsonian American Art Museum, Washington DC

Irving Penn
Hell's Angels, San Francisco
1967
platinum-palladium print
National Portrait Gallery, Washington DC

Robert McFarlane
Boy watching Anzac Day Parade, Market Street, Sydney
1968
gelatin silver print
Art Gallery of South Australia, Adelaide

Jasper Johns
0 through 9
1962
pastel, crayon and ink on paper
Hirshhorn Museum, Washington DC

Jasper Johns
0 through 9
1961
oil on canvas
Hirshhorn Museum, Washington DC

Joe Martin
Palazzo
1969
screenprinted vinyl (wallpaper)
Cooper Hewitt, Smithsonian Design Museum

Joe Martin
Trophées de Chasse
ca. 1965
screenprinted vinyl (wallpaper)
Cooper Hewitt, Smithsonian Design Museum

Russell Lynes
Gregory Gillespie's Studio in Rome
1969
gelatin silver print
Archives of American Art, Washington DC

Russell Lynes
Gregory Gillespie in Rome
1969
gelatin silver print
Archives of American Art, Washington DC

Serge Poliakoff
Composition
before 1969
color etching and aquatint
Art Institute of Chicago

Michael Mazur
Artist at Easel #1
1967
etching
New Britain Museum of American Art, Connecticut

Sigmar Polke
Bunnies
1966
acrylic on canvas
Hirshhorn Museum, Washington DC

JOHN MILTON (1608-1674) – The last of the four chief masters of English prosody.  Began by various experiments in metre, both in and out of lyric stanza – reaching in the "Nativity" hymn almost the maximum of majesty in concerted measures.  In L'Allegro, Il Penseroso, and the Arcades passed into a variety of the octosyllabic couplet, which had been much practised by Shakespeare and others, but developed its variety and grace yet further, though he did not attempt the full Spenserian or Christabel variation.  In Comus continued this, partly, with lyrical extensions, but wrote the major part in blank verse – not irreminiscent of the single-minded form, but largely studied off Shakespeare and Fletcher, and with his own peculiar turns already given to it.  In Lycidas employed irregularly rhymed paragraphs of mostly decasyllabic lines.  Wrote some score of fine sonnets, adjusted more closely to the usual Italian models than those of most of his predecessors.  After an interval, produced in Paradise Lost the first long poem in blank verse, and the greatest non-dramatic example of the measure ever seen – admitting the fullest variation and substitution of foot and syllable, and constructing verse-paragraphs of almost stanzaic effect by varied pause and contrasted stoppage and overrunning.  Repeated this, with perhaps some slight modifications, in Paradise Regained.  Finally, in Samson Agonistes, employed blank-verse dialogue with choric interludes rhymed elaborately – though in an afterthought note to Paradise Lost he had denounced rhyme – and arranged on metrical schemes sometimes unexampled in English. 

– George Saintsbury, from Historical Manual of English Prosody (1910)

Friday, August 29, 2025

Expectedness (Sixties)

Bob Thompson
Enchanted Rider
1961
oil on canvas
Smithsonian American Art Museum, Washington DC


Bob Thompson
An Allegory
1964
oil on linen
Whitney Museum of American Art, New York

Bob Thompson
Descent from the Cross
1963
oil on canvas
Smithsonian American Art Museum, Washington DC

Arnold Belkin
In Resplendent Places
1968
lithograph
Smithsonian American Art Museum, Washington DC

Arnold Belkin
Moses de Leon
1969
lithograph
Smithsonian American Art Museum, Washington DC

Gertrude Hermes
Bees
1963
color linocut
British Museum

Elaine Lustig Cohen
Boris Pasternak - I Remember
1960
lithograph (dust jacket)
Cooper Hewitt, Smithsonian Design Museum

Elaine Lustig Cohen
The Hebrew Bible, Jewish Museum, New York
1963
offset-lithograph (exhibition poster)
Cooper Hewitt, Smithsonian Design Museum

Jack Beal
Still Life with Plant and Mirrors
1965
oil on canvas
Whitney Museum of American Art, New York

Galina Bitt
Kinetische Zeichnung
1965
screenprint
Hirshhorn Museum, Washington DC

Cristóbal Balenciaga
Hat
1964
dyed cockerel feathers mounted on rayon taffeta
Museo Cristóbal Balenciaga, Getaria, Spain

William Turnbull
Leaves, Blue
ca. 1967
lithograph
Fralin Museum of Art, Charlottesville, Virginia

Bridget Riley
Late Morning
1967-68
acrylic on canvas
Tate Modern, London

Ruth Gikow
The Kitchen
1960
oil on canvas
Smithsonian American Art Museum, Washington DC

Corneille (Guillaume Cornelis van Beverloo)
L'Heure Matinale
1967
lithograph
Queensland Art Gallery, Brisbane

Pablo Picasso
Dans l'Atelier
1965
aquatint and drypoint
Hirshhorn Museum, Washington DC

David Plowden
Delaware and Hudson Railroad
Whitehall, New York

1965
gelatin silver print
Art Institute of Chicago

DRYDEN, JOHN (1630-1700) – The establisher and master of the stopped heroic couplet with variations of triplets and Alexandrines; the last great writer of dramatic blank verse, after he had given up the couplet for that use; master also of any other metre – the stopped heroic quatrain, lyrics of various forms, etc. – that he chose to try.  A deliberate student of prosody, on which he had intended to leave a treatise, but did not. 

COWPER, WILLIAM (1731-1800) – One of the first to protest, definitely and by name, against the "mechanic art" of Pope's couplet.  He himself returned to Dryden for that metre; but practised very largely in blank verse, and wrote lyrics with great sweetness, a fairly varied command of metre, and, in "Boadicea," "The Castaway," and some of his hymns, no small intensity of tone and cry.  His chief shortcoming, a preference of elision to substitution.  

– George Saintsbury, from Historical Manual of English Prosody (1910)