Promotional

Sven Brasch
Geraldine Farrar in The Devil Stone
1919
color linocut and letterpress
(poster in Danish for silent film)
National Portrait Gallery, Washington DC

Anonymous Designer
Anna May Wong - La Dame de Tchong King
1942
lithograph (poster)
National Portrait Gallery, Washington DC

Karel Vaca
Ro. Go. Pa. G.
(Roberto Rossellini, Jean-Luc Godard, Pier Paolo Pasolini, Ugo Gregoretti)
1963
offset-lithograph
(poster in Czech for film series)
Cooper Hewitt, Smithsonian Design Museum

Georges Kerfyser
Masculin-Feminin by Jean-Luc Godard
1966
offset-lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

Alan D'Arcangelo
Lincoln Center Festival
1968
screenprint (poster)
Cooper Hewitt, Smithsonian Design Museum

David Lance Goines
Der Blaue Engel - Marlene Dietrich - 1930
Pacific Film Archive, Berkeley
1975
lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

David Lance Goines
The General - Buster Keaton - 1924
Pacific Film Archive, Berkeley
1975
lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

Andrzej Klimowski
Omen (American horror film)
1977
offset-lithograph (poster in Polish)
Cooper Hewitt, Smithsonian Design Museum

Paul Brühwiler
Luis Buñuel - Filmpodium, Zürich
1980
screenprint (poster)
Cooper Hewitt, Smithsonian Design Museum

Paul Brühwiler
Neue Deutsche Filme - Filmpodium, Zürich
1981
screenprint (poster)
Cooper Hewitt, Smithsonian Design Museum

Art Chantry
Molière's Tartuffe
The Empty Space Theatre, Bakersfield
1983
offset-lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

Andrzej Klimowski
Mystery Train - Jim Jarmusch
1989
offset-lithograph (poster in Polish)
Cooper Hewitt, Smithsonian Design Museum

Andrzej Klimowski
Permanent Vacation - Jim Jarmusch
1991
offset-lithograph (poster in Polish)
Cooper Hewitt, Smithsonian Design Museum

Andrzej Klimowski
Night on Earth - Jim Jarmusch
1992
offset-lithograph (poster in Polish)
Cooper Hewitt, Smithsonian Design Museum

Paul Brühwiler
Cine Amerindia - Filmpodium, Zürich
1992
screenprint (poster)
Cooper Hewitt, Smithsonian Design Museum

Frank Kozik
Nine Inch Nails - Seattle Center Arena
1994
screenprint (poster)
Smithsonian American Art Museum, Washington DC

Karl Domenic Geissbühler
Zürcher Ballett - Opernhaus Zürich
1997
offset-lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

from The Flaming Heart: upon the Book and Picture of the seraphicall saint Teresa (as she is usually expressed with a Seraphim beside her).

Well meaning readers! you that come as freinds
And catch the pretious name this peice pretends;
Make not too much hast to admire
That fair-cheek't fallacy of fire.
That is a Seraphim, they say
And this the great Teresia.
Readers, be rul'd by me; & make
Here a well-plac't and wise mistake.
You must transpose the picture quite,
And spell it wrong to read it right.
Read Him for her, & her for him,
And call the Saint the Seraphim.
    Painter, what didst thou understand
To put her dart into his hand!
See, even the yeares & size of him
Showes this the mother Seraphim.
This is the mistresse flame; & duteous he
Her happy fire-works, here, comes down to see.
O most poor-spirited of men!
Had thy cold Pencil kist her Pen
Thou couldst not so unkindly err
To show us This faint shade for Her. 

– Richard Crashaw, Sacred Poems (1652)

Dance Indications

Barbara Morgan
Martha Graham in Letter to the World with Merce Cunningham
1940
gelatin silver print
Loeb Art Center, Vassar College, Poughkeepsie, New York

Barbara Morgan
Knee (Dancer)
1940
gelatin silver print
Loeb Art Center, Vassar College, Poughkeepsie, New York

Joseph Cornell
Homage to the Romantic Ballet
1941
assemblage (box, fabric, printed paper, found objects)
National Gallery of Art, Washington DC

George Platt Lynes
Pas de deux
1941
gelatin silver print
(program cover for American Ballet Caravan)
Metropolitan Museum of Art, New York

George Platt Lynes
Maria Tallchief in Orpheus
1948
gelatin silver print
Metropolitan Museum of Art, New York

Irving Penn
Arthur Murray Dancers, New York
1951
platinum-palladium print
Metropolitan Museum of Art, New York

Irving Penn
Rockette, New York
1951
platinum-palladium print
Metropolitan Museum of Art, New York

George Platt Lynes
Tanaquil Le Clercq and Todd Bolender in Metamorphoses
1952
gelatin silver print
National Gallery of Art, Washington DC

Grace Robertson
Bermondsey Women's Pub Outing
1954
gelatin silver print
Loeb Art Center, Vassar College, Poughkeepsie, New York

Grace Robertson
Bermondsey Women's Pub Outing
1954
gelatin silver print
Loeb Art Center, Vassar College, Poughkeepsie, New York

Garry Winogrand
El Morocco, New York
1955
gelatin silver print
Metropolitan Museum of Art, New York

Garry Winogrand
El Morocco, New York
1955
gelatin silver print
Metropolitan Museum of Art, New York

Philippe Halsman
Maria Tallchief
1956
gelatin silver print
National Portrait Gallery, Washington DC

Diane Arbus
Lady in a Tiara at a Ball, N.Y.C.
1963
gelatin silver print
Metropolitan Museum of Art, New York

Phillip Leonian
Carmen de Lavallade Turning
1968
gelatin silver print
National Gallery of Art, Washington DC

Phillip Leonian
Carmen de Lavallade Turning
1968
gelatin silver print
National Gallery of Art, Washington DC

André Kertész
New York Circus Ballet
1969
gelatin silver print
National Gallery of Art, Washington DC

George Segal
The Dancers
modeled 1971, cast 1982
painted bronze
National Gallery of Art, Washington DC

    The books I was thinking of had something more in common than eccentricity, single-mindedness, a willingness to risk tedium, and a willingness to lose readers, and that was the care and interest of the writing.

    This must be one of the things that saves the books from tedium or allows us to forgive it.  But doesn't that leave out – or does it? maybe not – the intelligence behind the writing?  Can there be really fine writing without high intelligence?

    So there is the passionate commitment to the peculiar subject combined with the close observation, the intelligence of the writing mind, and the high quality of the writing.  But perhaps that list leaves out the heart – warmth, compassion, affection.  

– Lydia Davis, from Into the Weeds (Yale University Press, 2025)

Dance Indications

Daniel Lindtmayer
Two Dancing Couples
(man at right is vomiting)
before 1606
engraving
British Museum

Thomas Stothard
Dancers in a Landscape
ca. 1785
watercolor and ink on paper
Ashmolean Museum, Oxford

François-Joseph Duret
Jeune pêcheur dansant la tarentelle
1832
bronze statue
Musée du Louvre

Théo van Rysselberghe
Le Café-Concert (dancer Lizzie Aubrey)
1896
etching
British Museum

Ludovico Rodolphe Pissarro
Dancers in Pink
1907
oil on canvas
Ashmolean Museum, Oxford

Léon Bakst
Isadora Duncan dancing
ca. 1907-1908
drawing
Ashmolean Museum, Oxford

Alexandre Benois
Ballet Costume for Sword Dancer in Le Rossignol
1914
watercolor and gouache on paper
Ashmolean Museum, Oxford

Wyndham Lewis
Dancers
ca. 1920-22
drawing (ink on paper)
Loeb Art Center, Vassar College,
Poughkeepsie, New York

Max Beckmann
Dancers
1923
lithograph
Loeb Art Center, Vassar College,
Poughkeepsie, New York

Hilda Belcher
Blue Dancer
1925
watercolor on paper
Loeb Art Center, Vassar College, Poughkeepsie, New York

Laura Knight
Changing
1926
drypoint
Art Gallery of New South Wales, Sydney

Pavel Tchelitchew
Design for Ballets-Russes Program Cover
1928
drawing (charcoal and wash on paper)
Victoria & Albert Museum, London

Ernst Ludwig Kirchner
Dancing Couple in Snow
1928-29
oil on canvas
National Gallery of Art, Washington DC

Pavel Tchelitchew
Les Ballets 1933
Théâtre des Champs-Élysées
1933
lithograph (poster)
Cooper Hewitt, Smithsonian Design Museum

Albert Renger-Patzsch
Dance School of Mary Wigman
ca. 1935
gelatin silver print
Metropolitan Museum of Art, New York 

George Platt Lynes
Orpheus and Eurydice
1936
gelatin silver print
Metropolitan Museum of Art, New York

John Gutmann
Jitterbug
1937
gelatin silver print
Metropolitan Museum of Art, New York

Barbara Morgan
Martha Graham in American Document Trio
1938
gelatin silver print
Loeb Art Center, Vassar College, Poughkeepsie, New York

    As I ride south, if I look to my right up into the tall trees with bare branches that line the water here – but the only bare-branched trees are, since it is June, the dead trees – I may see a raptor.  Just as I form these words in my head, looking out the window of the train in search of one, I see a bare-branched tree and a bald eagle clutching a branch near the top.  Farther down the tree is a second bald eagle – a bonus.  Then the eagles are gone from sight, behind me upriver, and I look away, to write this down.  In doing so, of course, I miss a piece of the passing landscape and other trees with perhaps other raptors. 

– Lydia Davis, from Into the Weeds (Yale University Press, 2025)