O'Keeffe at Home

John Loengard
Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
On the Roof, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
At Table, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
With book by Leonard Baskin, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Rattles of Rattlesnakes, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Pelvis, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Remains, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Cow Skull, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Antler, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Studio Workbench, Ghost Ranch 
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Brushes, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Easel, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Work in Progress, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Bird Nest, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Abiquiu
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Books, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

Homer the Fount

Being blind and indigent; having lived before ever the Sciences were redacted into strict rules and certaine observations, hee had so perfect knowledge of them, that all those which since his time have labored to establish Policies or Common-wealths, to manage warres, and to write either of Religion or Philosophie, in what Sect soever or of all Artes, have made use of him, as of an absolutely-perfect Maister in the knowledge of all things; and of his Bookes, as of a Seminarie, a Spring-garden or Store-house of all kinds of sufficiency and learning.

                From whose large mouth for verse all that since live

                Drew water, and grew bolder to derive

                Into thinne shallow rivers his deepe floods:

                Richly Luxuriant in one mans goods.

– Manilius (1st century AD), translated by John Florio and Matthew Gwinne (1603)

Golden Covers

Tibor Gergely (illustrator)
Tootle
1945
printed book
National Museum of American History, Washington DC

Tibor Gergely (illustrator)
The Taxi That Hurried
1946
printed book
National Museum of American History, Washington DC

Tibor Gergely (illustrator)
A Year In The City
1948
printed book
National Museum of American History, Washington DC

Lenora Fees Combes (illustrator)
Let's Go Shopping
1948
printed book
National Museum of American History, Washington DC

Eloise Wilkin (illustrator)
Come Play House
1948
printed book
National Museum of American History, Washington DC

Cornelius De Witt (illustrator)
Johnny's Machines
1949
printed book
National Museum of American History, Washington DC

Corinne Malvern (illustrator)
Susie's New Stove
1949
printed book
National Museum of American History, Washington DC

Feodor Rojankovsky (illustrator)
Gaston and Josephine
1949
printed book
National Museum of American History, Washington DC

Richard Scarry (illustrator)
Two Little Miners
1949
printed book
National Museum of American History, Washington DC

Corinne Malvern (illustrator)
Doctor Dan
1950
printed book
National Museum of American History, Washington DC

Richard Scarry (illustrator)
Here Comes The Parade
1951
printed book
National Museum of American History, Washington DC

Corinne Malvern (illustrator)
Nurse Nancy
1952
printed book
National Museum of American History, Washington DC

Corinne Malvern (illustrator)
Five Pennies To Spend
1955
printed book
National Museum of American History, Washington DC

Violet LaMont (illustrator)
Let's Save Money
1958
printed book
National Museum of American History, Washington DC

Eloise Wilkin (illustrator)
We Help Daddy
1962
printed book
National Museum of American History, Washington DC

Joan Esley (illustrator)
New Brother, New Sister
1966
printed book
National Museum of American History, Washington DC

from Tristia

[from exile, to his wife at Rome]

Dearest! if you those fair Eyes (wondering) stick

On this strange Character, know, I am sick.

Sick in the skirts of the lost world, where I

Breath hopeless of all Comforts, but to dye.

What heart (think'st thou?) have I in this sad seat

Tormented 'twixt the Sauromate and Gete?

Nor aire nor water please; their very skie

Looks strange and unaccustom'd to my Eye,

I scarce dare breath it, and I know not how

The earth that bears me shewes unpleasant now.

Nor Diet here's, nor lodging for my Ease,

Nor any one that studies a disease;

No friend to comfort me, none to defray

With smooth discourse the Charges of the day.

All tir'd alone I lye, and (thus) what e're

Is absent, and at Rome I fancy here.

– Ovid (43 BC-AD 17), translated by Henry Vaughan (1651)

Peter Max

Peter Max
Charles, Prince of Wales
1969
colored inks and collage on board
(commissioned by Time magazine)
National Portrait Gallery, Washington DC

Peter Max
Love
1967
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Man Must Moon
1969
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
A Beautiful Summer Day
With the NBC Owned Television Stations
1970
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Police Dept.
ca. 1970
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
123 Infinity
ca. 1968
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Happy People Don't Smoke Cigarettes
American Cancer Society
ca. 1970
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Ben Turpin Cameo
1967
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
John Lindsay
1969
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Jazzmobile
1967
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Outer Space
1967
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
The Book of Posters
1971
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
The World of Peter Max
1970
lithograph (exhibition poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Peter Max - Magit Gallery
1980
lithograph (exhibition poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Peter Max - Muirhead Galleries
1977
lithograph (exhibition poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
Peace Corps
1970
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Peter Max
10 Siblings
1967
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

from Tristia

[Packing for exile]

When night falls here, I think of that other night

        when the shadow fell once and for all and I

was cast out of the light into this endless gloom.

        Twilight here calls forth from certain birds

a kind of mournful twitter, but silent tears from me

        as I think of how it was that night in the city.

The nimble hours skittered, turning us all clumsy

        and the simplest menial task onerous. Packing

was either a nightmare itself or one of those cruel jokes

        you sometimes find in your worst dreams. Papers

hid and even after we'd found them refused to stay put.

        We blamed ourselves for having wasted time

trying to talk it out and ourselves into understanding

        what was going on, and not to impose

what we were feeling. I'd made lists of clothing, equipment . . .

        But who had the composure? And pitiless time

nudged us along, forcing our minds to these cruel questions.

        Or was it perhaps a mercy? We managed to laugh

once or twice, as my wife found in some old trunk

        odd pieces of clothing. "This might be

just the thing this season, the new Romanian mode . . ."

        And just as abruptly our peal of laughter would catch

and tear into tears as she dropped the preposterous shepherd's cloak    

        and we held each other. On drill, like a legion,

the minutes passed, each of them bearing Caesar's blazon,

        advancing by so much the terrible deadline.

It wasn't the fall of Troy, but what we all dread

        as we read of the fall of Troy, whatever the scale

by which we figure grief, investing in those old figures 

        what our approximate hearts have learned to feel.

– Ovid (43 BC-AD 17), translated by David R. Slavitt (1999)