Auteur

Irving Penn
Peter Ustinov, New York
1947
gelatin silver print
Metropolitan Museum of Art, New York

Irving Penn
Jerome Robbins, New York
1948
gelatin silver print
Metropolitan Museum of Art, New York

Irving Penn
Joe Louis, New York
1948
gelatin silver print
Metropolitan Museum of Art, New York

Irving Penn
Spanish Hat by Tatiana du Plessix, New York
(model: Dovima)
1949
gelatin silver print
Metropolitan Museum of Art, New York

Irving Penn
Dior Dress, New York
(model: Dorian Leigh)
1949
gelatin silver print
Metropolitan Museum of Art, New York

Irving Penn
Balenciaga Mantle-Coat, Paris
(model: Lisa Fonssagrives Penn)
1950
platinum-palladium print
Metropolitan Museum of Art, New York

Irving Penn
Cecil Beaton, London
1950
gelatin silver print
Metropolitan Museum of Art, New York

Irving Penn
Cordonnier, Paris
1950
platinum-palladium print
Metropolitan Museum of Art, New York

Irving Penn
Rempailleurs, Paris
1950
platinum-palladium print
Metropolitan Museum of Art, New York

Irving Penn
Yves Saint-Laurent, Paris
1957
gelatin silver print
Metropolitan Museum of Art, New York

Irving Penn
Picasso at La Californie, Cannes
1957
platinum-palladium print
National Gallery of Art, Washington DC

Irving Penn
Hippie Family, San Francisco
1967
platinum-palladium print
National Gallery of Art, Washington DC

Irving Penn
Naomi Sims in Scarf
ca. 1969
gelatin silver print
Metropolitan Museum of Art, New York

Irving Penn
Platinum Test-Materials 5/17
1989
collage of platinum-palladium prints
National Gallery of Art, Washington DC

Irving Penn
Platinum Test-Materials 8/17
1989
collage of platinum-palladium prints
National Gallery of Art, Washington DC

Irving Penn
Platinum Test-Materials 10/17
1989
collage of platinum-palladium prints
National Gallery of Art, Washington DC

Irving Penn
Platinum Test-Materials 15/17
1989
collage of platinum-palladium prints
National Gallery of Art, Washington DC

I write quickly but neatly.  I know that people like my handwriting.  I like writing neatly because I want people to understand my writing.  I am not afraid of print.  I like print, but print cannot convey the same feeling as writing.  I do not like typing.  I do not like shorthand.  I like shorthand when one wants to write things down quickly.  I consider it essential to know shorthand.  I will speak quickly, and my speech will be taken down in shorthand.  I like shorthand.  I do not want shorthand-writers to sacrifice their whole lives to shorthand.  I like the shorthand that takes down Wilson's speeches.  I do not like the shorthand that takes down Lloyd George's speeches.  I like both shorthands because I want people to understand their meaning.  Without Lloyd George's speeches it is not possible to understand Wilson's speeches.  I want Wilson to achieve his aims, because his aims are nearer to truth.  I feel Wilson's death.  I am afraid he might get a bullet through the head or some other part of his body that will not be able to take it.  

– from The Diary of Vaslav Nijinsky, written in Russian in 1919, translated by Kyril FitzLyon and edited by Joan Acocella (New York: Farrar, Straus and Giroux, 1999)

Lewis Baltz

Lewis Baltz
Sausalito #14
1968
gelatin silver print
Norton Simon Museum, Pasadena, California

Lewis Baltz
Tract House #1
1971
gelatin silver print
Norton Simon Museum, Pasadena, California

Lewis Baltz
Tract House #5
1971
gelatin silver print
Norton Simon Museum, Pasadena, California

Lewis Baltz
Tract House #7
1971
gelatin silver print
Norton Simon Museum, Pasadena, California

Lewis Baltz
Tract House #20
1971
gelatin silver print
Norton Simon Museum, Pasadena, California

Lewis Baltz
Public Places - Berkeley, California (#1A)
1972
gelatin silver print
Smithsonian American Art Museum, Washington DC

Lewis Baltz
Public Places - Claremont, California (#2A)
1973
gelatin silver print
Smithsonian American Art Museum, Washington DC

Lewis Baltz
Public Places - Houston, Texas
1973
gelatin silver print
Smithsonian American Art Museum, Washington DC

Lewis Baltz
Public Places - South El Monte
1973
gelatin silver print
Smithsonian American Art Museum, Washington DC

Lewis Baltz
Nevada 1 - Reno-Sparks looking South
1977
gelatin silver print
Smithsonian American Art Museum, Washington DC

Lewis Baltz
Nevada 3 - Hidden Valley looking Southwest
1977
gelatin silver print
Smithsonian American Art Museum, Washington DC

Lewis Baltz
Nevada 10 - Mill Street, Reno
1977
gelatin silver print
Smithsonian American Art Museum, Washington DC

Lewis Baltz
Nevada 11 - Lemmon Valley looking North
1977
gelatin silver print
Smithsonian American Art Museum, Washington DC

Lewis Baltz
Park City 31 - Snowflower Condominiums looking Southeast
1979
gelatin silver print
Smithsonian American Art Museum, Washington DC

Lewis Baltz
Park City 33 - Snowflower Condominiums looking East
1979
gelatin silver print
Smithsonian American Art Museum, Washington DC

Lewis Baltz
Park City 37 - Park Meadows Subdivision 3, Lot 39 looking Northwest
1979
gelatin silver print
Smithsonian American Art Museum, Washington DC

Lewis Baltz
Park City 89 - Park City interior 28
1979
gelatin silver print
Smithsonian American Art Museum, Washington DC

Dido's Lament, from The Heroides

While stormie seas grow calme,

    while custom tempers love:

How patiently mishaps to beare,

    I shall the practise prove.

If not, my life to spill

    with full intent I mind:

Of crueltie thou canst not long

    in me a subject find.

Would God thou didst but see

    mine Image as I wright:

I wright, and full against my breast

    thy naked sword is pight.*

And downe my cheeks along

    the teares do trickling fall:

Which by and by in stead of teares,

    ingrayne in blood I shall.

– Ovid (43 BC-AD 17), translated by George Turberville (1567)

*pight - past tense of pitch, here signifying thrust

Franz Kline

Franz Kline
The Chair
1950
oil on canvas
Walker Art Center, Minneapolis

Franz Kline
Untitled
1950
acrylic on newsprint
National Gallery of Australia, Canberra

Franz Kline
Painting no. 7
1952
oil on canvas
Guggenheim Museum, New York

Franz Kline
Untitled
1952
oil on paper, mounted on canvas
Guggenheim Museum, New York

Franz Kline
Orange Outline
1955
oil on paper, mounted on canvas
North Carolina Museum of Art, Raleigh

Franz Kline
Composition
1955
oil, graphite and ink on paper
Whitney Museum of American Art, New York

Franz Kline
Head
ca. 1956-60
gouache on paper
Smithsonian American Art Museum, Washington DC

Franz Kline
Untitled
1957
oil on paper
Phillips Collection, Washington DC

Franz Kline
Untitled
1957
ink on paper
Phillips Collection, Washington DC

Franz Kline
Sketch for Corinthian
1958
collage and ink on paper
Walker Art Center, Minneapolis

Franz Kline
Untitled
ca. 1959
oil on paper
Smithsonian American Art Museum, Washington DC

Franz Kline
Blueberry Eyes
1959-60
oil on board
Smithsonian American Art Museum, Washington DC

Franz Kline
Black and White no. 2
1960
oil on canvas
Blanton Museum of Art, Austin, Texas

Franz Kline
Merce C.
1961
oil on canvas
Smithsonian American Art Museum, Washington DC

Franz Kline
Untitled
ca. 1961
oil on cardboard
Huntington Museum of Art, Huntington, West Virginia

Franz Kline
Red Painting
1961
oil on canvas
Whitney Museum of American Art, New York

Franz Kline
Slate Cross
1961
oil on canvas
Dallas Museum of Art

from The Opera Company

After the war

No jewel remained but feeling.

The head held itself high beneath

Instinct red and branchy, torn from depths,

The bleached jaws of the serpent or the cat.

No more tiaras. Joys, humiliations,

Greed's bluewhite choker, guilt beading the brow –

Thus we arrayed

Our women, and were proud.

The actual stones were kept or not, like Bibles,

Never used.

Meanwhile an old pitfall came to light.

When hadn't there been counterfeit

Emotions? But these now

Went undetected at the gala nights,

And "lumps of primal pain"

Were worn by daylight in resorts.

So much so, that many are preferring

To sit dry-eyed through the opera, to climb down

From the shabby rafters, having watched

Merely, and listened.

How beautiful these last performances

That fail to move us!

– James Merrill (1969)