Kurt Schwitters

Kurt Schwitters
Das Arbeiterbild
1919
assemblage with oil paint on panel
Moderna Museet, Stockholm

Kurt Schwitters
Merz. Collage 'Tell'
ca. 1919-20
collage on paper
Phillips Collection, Washington DC

Kurt Schwitters
Merzbild 31B, Radiating World
1920
collage with gouache on board
Phillips Collection, Washington DC

Kurt Schwitters
Merzz. 53, Red Bonbon
1920
collage on paper
Guggenheim Museum, New York

Kurt Schwitters
Mz. 163 with Woman, Spraying
1920
collage on paper
Guggenheim Museum, New York

Kurt Schwitters
Mz. 199
1921
collage with gouache on paper
Guggenheim Museum, New York

Kurt Schwitters
Mit Spinne
1921
collage on paper
Moderna Museet, Stockholm

Kurt Schwitters
Merzbild Maraak, Variation I
1930
assemblage with oil paint on board
Peggy Guggenheim Collection, Venice

Kurt Schwitters
Composition
1936
collage on paper
Moderna Museet, Stockholm

Kurt Schwitters
Milwaukee
1937
collage on paper
Phillips Collection, Washington DC

Kurt Schwitters
Construction on a Sheep Bone
ca. 1945
painted bone, plaster and wood
Abbot Hall Art Gallery, Kendal, Cumbria

Kurt Schwitters
Flight
1945
assemblage with oil paint on board
Abbot Hall Art Gallery, Kendal, Cumbria

Kurt Schwitters
Untitled (Togetherness)
ca. 1945-47
painted plaster and stone
Tate Modern, London

Kurt Schwitters
Pink Dream
1946
collage on paper
Phillips Collection, Washington DC

Kurt Schwitters
Untitled
1947
collage with gouache on paper
Abbot Hall Art Gallery, Kendal, Cumbria

Kurt Schwitters
Horizontal
1947
collage on paper
Moderna Museet, Stockholm

from From the Cupola 

      Ah and should discernment's twin

            tyrants adamant

      for their meal of pinks and whites

be who call those various torches in

                  help me love

      This is nothing I shall want

      We see according to our lights

      When as written you have lapsed

            back into the god

            darts and wings and appetites

what of him the lover all eclipsed

                  by sheer love

      Shut my eyes it does not good

      Who will ever put to rights

      Psyche, hush. This is me, James.

            Writing lest he think

      Of the reasons why he writes –

Boredom, fear, mixed vanities and shames;

                  Also love.

      From my phosphorescent ink

      Trickle faint unworldly lights

      Down your face. Come, we'll both rest.

            Weeping? You must not.

      All our pyrotechnic flights

Miss the sleeper in the pitch-dark breast.

                  He is love:

      He is everyone's blind spot.

      We see according to our lights.

– James Merrill (1966)

Hartley - Embriachi - Garwood - Faed

Marsden Hartley
Movement no. 9
1916
oil on paper, mounted on panel
Walker Art Center, Minneapolis

Marsden Hartley
Pink Begonias
1928-29
oil on panel
Smithsonian American Art Museum, Washington DC

Marsden Hartley
Red Tree
1910
oil on board
Smithsonian American Art Museum, Washington DC

Marsden Hartley
Self Portrait
1908
drawing
Smithsonian American Art Museum, Washington DC

Embriachi Workshop
Portable Altarpiece - Virgin and Child with Saints
ca. 1390-1430
carved bone and wood
Nasher Museum of Art, Durham, North Carolina

Embriachi Workshop
Portable Altarpiece - Crucifixion with Saints
ca. 1390-1430
carved bone and wood
Nasher Museum of Art, Durham, North Carolina

Embriachi Workshop
Portable Altarpiece - Scenes from Lives of Christ and of Saints
ca. 1390-1400
carved bone and wood
Metropolitan Museum of Art, New York

Embriachi Workshop
Cabinet Frontal
(assembled from fragments of two Embriachi caskets)
ca. 1400-1410
carved bone and wood
Metropolitan Museum of Art, New York

Tirzah Garwood (Tirzah Ravilious)
Cactus Plants
1930
wood-engraving
private collection

Tirzah Garwood (Tirzah Ravilious)
The Crocodile
ca. 1935
wood-engraving
National Gallery of Australia, Canberra

Tirzah Garwood (Tirzah Ravilious)
The Dog Show
ca. 1935
wood-engraving
National Gallery of Australia, Canberra

Tirzah Garwood (Tirzah Ravilious)
The Train Journey
1939
wood-engraving
private collection

Thomas Faed
Mother and Child
ca. 1872
drawing
(print study)
British Museum

Thomas Faed
Study of Young Woman
1871
drawing
British Museum

Thomas Faed
Study of Young Woman
ca. 1850
drawing
Scottish National Gallery, Edinburgh

Thomas Faed
The Old Fence
before 1900
watercolor on paper
Art Institute of Chicago

from Winter Morning

1.

Today, when I woke up, I asked myself

why did Christ die? Who knows

the meaning of such questions? 

It was a winter morning, unbelievably cold.

So the thoughts went on,

from each question came

another question, like a twig from a branch,

like a branch from a black trunk.

2.

At a time like this

a young woman traveled through the desert settlements

looking neither forward nor backward,

sitting in perfect composure on the tired animal

as the child stirred, still sealed in its profound attachment –

The husband walked slightly ahead, older, out of place;

increasingly, the mule stumbled, the path becoming

difficult in darkness, though they persisted

in a world like our world, not ruled 

by men but by a statue in heaven –

– Louise Glück (1985)