Angular

Olga Rozanova
Non-Objective Composition (Suprematism)
1916-17
oil on canvas
State Tretyakov Gallery, Moscow

Kurt Schwitters
Composition
1936
collage on paper
Moderna Museet, Stockholm

Georges Valmier
Still Life with Geometric Forms I
1919
oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands

Lyubov Popova
Untitled
1917
color linocut
Cabinet d'Arts Graphiques
des Musées d'Art et d'Histoire, Genève

Wiener Porzellanmanufaktur
Design for Decorative Border
ca. 1800
gouache on paper
Museum für Angewandte Kunst, Vienna

Piet Mondrian
Rhythm in Straight Lines
1937-42
oil on canvas
Kunstsammlung Nordrhein-Westfalen, Düsseldorf

Ivan Klyun
Suprematist Composition
1922
watercolor on paper
Graphische Sammlung Albertina, Vienna

Marsden Hartley
Provincetown Abstraction
1916
oil on board
Amon Carter Museum, Fort Worth, Texas

Wassily Kandinsky
Composition
1924
gouache on paper
Musée d'Art Moderne et Contemporain de Strasbourg

Juan Gris
Still Life with White Cloud
1921
oil on canvas
Hamburger Kunsthalle

Kasimir Malevich
Supremas No. 38
1916
oil on canvas
Museum Ludwig, Cologne

Chris Beekman
Young Women with Umbrella
1917-18
oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands

Roy Lichtenstein
Modern Painting with Classic Head
ca. 1967
screenprint
Moderna Museet, Stockholm

Oskar Kokoschka
Geneviève de Brabant
1908
watercolor on paper
(postcard design for Wiener Werkstätte)
Kunsthalle Mannheim

Pierre-Albert Bégaud
Académie
ca. 1925
drawing
Musée des Beaux-Arts de Bordeaux

Egon Schiele
Self Portrait Crouching
1913
drawing, with added gouache
Moderna Museet, Stockholm

The same winter also the Athenians hallowed the isle of Delos, by the admonition indeed of a certain oracle.  For Pisistratus also, the tyrant, hallowed the same before; not all, but only so much as was within the prospect of the temple.  But now they hallowed it all over in this manner.  They took away all sepulchres whatsoever of such as had died there before, and for the future made an edict that none should be suffered to die nor any woman to bring forth child in the island; but when they were near their time, either of the one or the other, they should be carried over into Rheneia.  This Rheneia is so little a way distant from Delos that Polycrates, the tyrant of Samos, who was once of great power by sea and had the dominion of the other islands, when he won Rheneia dedicated the same to Apollo of Delos, tying it unto Delos with a chain.  And now after the hallowing of it, the Athenians instituted the keeping, every fifth year, of the Delian games.  There had also in old time been great concourse in Delos, both of Ionians and of the islanders around about.  For they then came to see the games, with their wives and children, as the Ionians do now the games of Ephesus.  There were likewise matches set of bodily exercise and of music; and the cities did severally set forth dances.  Which things to have been so, is principally declared by Homer . . . 

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

Coordination

Reidun Tordhol
Still Life
1984
oil on panel
Lillehammer Kunstmuseum, Norway

Issey Miyake
Dress
1995
polyester
Groninger Museum, Netherlands

Moritz Tettelbach
Roses
1833
gouache on paper
Graphische Sammlung Albertina, Vienna

Viktor & Rolf
Harlequin Suit
1998
cotton and rayon
Groninger Museum, Netherlands

Achille Laugé
Flowers and Pears
1909
oil on canvas
Musée des Beaux-Arts de Carcassonne

Viktor & Rolf
Dress and Tunic
1999
printed silks
Groninger Museum, Netherlands

Felix Tobeen
Bouquet
ca. 1927
oil on canvas
Kröller-Müller Museum, Otterlo, Netherlands

Dirk Jacobsz Vellert
Warrior supporting Coat-of-Arms
1522
engraving
Graphische Sammlung Albertina, Vienna

Gaetano Vascellini
Statues of Youths by Domenico Pieratti
in Giardino di Boboli, Florence
1789
etching
Herzog August Bibliothek, Wolfenbüttel

Jan Verkolje the Elder after Godfrey Kneller
Portrait of Steffan Wolters
1684
mezzotint
Museum für Angewandte Kunst, Vienna

Ernst Ludwig Kirchner
Endpapers to Umbra Vitae by Georg Heym
1924
woodcuts on colored paper
Kupferstichkabinett, Staatliche Museen zu Berlin

Anton Koberger (printer)
Moses and Aaron changing the Rivers of Egypt to Blood
ca. 1479-83
hand-colored woodcut
(Bible illustration)
Graphische Sammlung Albertina, Vienna

Wassily Kandinsky
Impression III (Concert)
1911
oil on canvas
Lenbachhaus Munich

Anton Tomschik
Study of Pears
1857
gouache on paper
Museum für Angewandte Kunst, Vienna

Anonymous Italian Artist
Apollo and the Muses
ca. 1520
oil on panel
Liechtenstein Museum, Vienna

Helen Verhoeven
The Taking of Christ
2017
acrylic on linen
Bonnefantenmuseum, Maastricht

In this speech did Pericles endeavour to appease the anger of the Athenians towards himself and withal to withdraw their thoughts from the present affliction.  But they, though for the state in general they were won and sent to the Lacedaemonians no more but rather inclined to the war, yet they were everyone in particular grieved for their several losses; the poor because entering the war with little, they lost that little; and the rich because they had lost fair possessions, together with goodly houses and costly furniture in them, in the country; but the greatest matter of all was that they had war instead of peace.  And altogether, they deposed not their anger till they had first fined him [Pericles] in a sum of money.  Nevertheless, not long after (as is the fashion of the multitude) they made him general again and committed the whole state to his administration.  For the sense of their domestic losses was now dulled, and for the need of the commonwealth they prized him more than any other whatsoever.  For as long as he was in authority in the city in time of peace, he governed the same with moderation and was a faithful watchman of it; and in his time it was at the greatest.  And after the war was on foot, it is manifest that he therein also foresaw what it could do.  He lived after the war began two years and six months.  And his foresight in the war was best known after his death. 

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

Discount

Thomas Ochsenbrunner
Roman Worthy - Numa Pompilius
1494
hand-colored woodcut and letterpress
(excised from printed book)
Graphische Sammlung Albertina, Vienna

Marcia Hafif
Red Painting: Paliogen Maroon
2000
oil on canvas
Clemens-Sels Museum, Neuss, Germany

Georg Schrimpf
Woman with Mirror
1926
oil on canvas
Museum Ludwig, Cologne

Anthonie Pieter Schotel
Paint Box
ca. 1930
oil on canvas
Dordrechts Museum, Netherlands

Witold Wojtkiewicz
Dolls
1906
oil on canvas
National Museum, Warsaw

Franz von Zülow
Dreamscape
1942
oil paint and watercolor on paper
Museum für Angewandte Kunst, Vienna

Franz von Zülow
Dreamscape
1942
oil paint and watercolor on paper
Museum für Angewandte Kunst, Vienna

Moritz von Schwind
Emperor Maximilian I in the Martinswand
ca. 1860
oil on panel
Belvedere Museum, Vienna

Josef Albers
Homage to the Square: Remote
1960
oil on masonite
Amon Carter Museum, Fort Worth, Texas

Ancient Greek Culture
Sphinx
570-550 BC
marble
(excavated in Attica)
National Archaeological Museum, Athens

Antonio del Pollaiuolo
David with the Head of Goliath
ca. 1465-70
tempera on panel
Gemäldegalerie, Staatliche Museen zu Berlin

Emil Orlik
The Anarchist
ca. 1898
lithograph
Kupferstichkabinett,
Staatliche Kunstsammlungen, Dresden

Anton Hanak
Study for Self Portrait
ca. 1931-32
drawing
Graphische Sammlung Albertina, Vienna

Jackson Pollock
Two-Sided Painting
1950-51
oil and enamel on canvas
Museum Folkwang, Essen

Adam Friedrich Oeser
The Bookworm
1782
drawing
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

Vilhelm Hammershøi
Interior, Strandgade 30
1905
oil on canvas
Alte Nationalgalerie, Staatliche Museen zu Berlin

"We have a form of government not fetched by imitation from the laws of our neighbouring states (nay, we are rather a pattern to others, than they to us) which, because in the administration it hath respect not to a few but to the multitude, is called democracy.  Wherein, though there be an equality amongst all men in point of law for their private controversies, yet in conferring of dignities one man is preferred before another to public charge, and that according to the reputation not of his house but of his virtue, and is not put back through poverty for the obscurity of his person as long as he can do good service to the commonwealth.  And we live not only free in the administration of the state but also one with another void of jealousy touching each other's daily course in life, not offended at any man for following his own humour, nor casting on any man censorious looks, which though they be no punishment, yet they grieve.  So that conversing one with another for the private without offence, we stand chiefly in fear to transgress against the public and are obedient always to those that govern and to the laws, and principally to such laws as are written for protection against injury, and such unwritten as bring undeniable shame to the transgressors."

"We have also found out many ways to give our mind recreation from labour by public institution of games and sacrifices for all the days of the year with a decent pomp and furniture of the same by private men, by the daily delight whereof we expel sadness.  We have this farther by the greatness of our city that all things from all parts of the earth are imported hither, whereby we no less familiarly enjoy the commodities of all other nations than our own."

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

Dispositions

Allan Sekula
Dockers loading Sugar Ship, Calais
1996
C-prints (triptych)
Orange County Museum of Art, Costa Mesa, California

Charles Haslewood Shannon
The Bathers
ca. 1905
lithograph
National Gallery of Canada, Ottawa

Everett Shinn
Bathers
1910
oil on canvas
Hirshhorn Museum, Washington DC

W. Eugene Smith
Country Doctor
1948
gelatin silver print
Princeton University Art Museum

attributed to Gilbert Soest
Portrait of a Royalist Officer
ca. 1646-49
oil on canvas
Courtauld Gallery, London

Andrea Solario
Christ carrying the Cross
ca. 1510
oil on panel
Galleria Borghese, Rome

Pierre Soulages
Painting - March, 1958
1958
oil on canvas
Fitzwilliam Museum, Cambridge

Carl Spitzweg
Philosopher in the Park
ca. 1851
oil on canvas
Von der Heydt Museum, Wuppertal

attributed to Hendrick van Steenwyck the Younger
Charles I as Prince of Wales
ca. 1619-21
oil on canvas
Statens Museum for Kunst, Copenhagen

Joel Sternfeld
Learning by Jean Charlot
Camp Rockmont, Black Mountain, North Carolina
(outdoor mural, disregarded and disappearing)
2005
C-print
Whitney Museum of American Art, New York

Marie Spartali Stillman
Kelmscott Manor from the Field
ca. 1890
watercolor and gouache on paper
Delaware Art Museum, Wilmington

Lou Stoumen
Nude (Bethlehem, Pennsylvania)
ca. 1935
gelatin silver print
New Britain Museum of American Art, Connecticut

Benjamin Strauss
Dolores del Rio
ca. 1927
gelatin silver print
National Portrait Gallery, Washington DC

Antonio Saura
Sija (Gina Lollobrigida)
1959
oil on canvas
Hirshhorn Museum, Washington DC

Theo Scharf
The Music Lovers
ca. 1923
etching
Art Gallery of New South Wales, Sydney

Johann Heinrich Schönfeld
Calvary
ca. 1647-48
oil on canvas
Princeton University Art Museum

Sebastiano del Piombo
Figure of Martha
(study for painting, The Raising of Lazarus)
ca. 1517-19
drawing
Städel Museum, Frankfurt

"Brian's trouble – as with so many aesthetes of his generation – was a basic ignorance, due to having failed to learn anything or to have learned how to learn when at school and university.  This vagueness had the effect of casting suspicion on the things he actually had learnt – except for matters of clothes, deportment and behaviour, in which for a few years he reigned supreme.  He should have been a Prince Genji composing epigrams and perfumes, despatching footmen with love letters, judging flower arrangements.  But he was too poor and too intelligent.  He was also extremely ambitious and determined to be famous, and to dominate the company he found himself in.  This he could only do through mockery of those who were stupider or commoner than himself."

– Cyril Connolly, issuing an unfriendly assessment of Brian Howard based on a Mediterranean tour they took together in 1933 – Connolly paid the bills while being derided by his companion