Prospect

Anonymous Ferrarese Artist
Portrait of an Aristocratic Family
ca. 1480
oil on canvas
Alte Pinakothek, Munich

Angelica Kauffmann
Woman Reading
1767
etching
Herzog Anton Ulrich Museum, Braunschweig

Johann Kenckel after Johann Martin Schuster
Académie
ca. 1710-20
mezzotint
Herzog Anton Ulrich Museum, Braunschweig

Jo Koster
Portrait of artist Geertruida van Hettinga Tromp
ca. 1940
oil on panel
Kröller-Müller Museum, Otterlo, Netherlands

Fritz Köthe
No Smoking
1964
tempera and oil on canvas
Museum Ludwig, Cologne

Ivan Kramskoy
Portrait of arts patron Vera Tretyakova
1876
oil on canvas
State Tretyakov Gallery, Moscow

Christen Købke
Part of the Cast Collection at Charlottenborg
1839
oil on canvas
Hirschsprung Collection, Copenhagen

Anton Kolig
Youth and Cupid
1911
oil on canvas
Leopold Museum, Vienna

Alexander Keighley
The Melon Seller
1909
photogravure
Kunstbibliothek, Staatliche Museen zu Berlin

Fernand Khnopff
The Game Warden
1883
oil on canvas
Städel Museum, Frankfurt

Anonymous Lombard Artist
Portrait of a Man holding Gloves
ca. 1550
oil on canvas
Galleria Borghese, Rome

Ernst Ludwig Kirchner
Two Women on a Divan
ca. 1910
drawing (colored chalks)
Städel Museum, Frankfurt

Wassily Kandinsky
In Blue
1925
oil on canvas
Kunstsammlung Nordrhein-Westfalen, Düsseldorf

Alexander Kanoldt
Still Life IV
1925
oil on panel
Kunsthalle Mannheim

Adolf Kaufmann
Oat Field
1906
oil on canvas
Belvedere Museum, Vienna

Anton Koberger (printer)
God supplying Moses with a Plague of Flies
ca. 1479-83
hand-colored woodcut
(Bible illustration)
Graphische Sammlung Albertina, Vienna

Dolabella

     Why would you shift it from yourself on me?

     Can you not tell her you must part? 

Antony                                                  I cannot.

     I could pull out an eye and bid it go,

     And t'other should not weep. O Dollabella,

     How many deaths are in this word 'Depart'!

     I dare not trust my tongue to tell her so:

     One look of hers would thaw me into tears,

     And I should melt till I were lost again. 

Dollabella

     Then let Ventidius:

     He's rough by nature.

Antony                            Oh, he'll speak too harshly;     

     He'll kill her with the news: thou, only thou!

Dollabella

     Nature has cast me in so soft a mould,

     That but to hear a story feigned, for pleasure,

     Of some sad lover's death moistens my eyes,

     And robs me of my manhood. I should speak

     So faintly, with such fear to grieve her heart,

     She'd not believe it earnest. 

Antony                                     Therefore, therefore

     Thou, only thou art fit. Think thyself me,

     And when thou speak'st (but let it first be long),

     Take off the edge from every sharper sound,

     And let our parting be as gently made

     As other loves begin: wilt thou do this?

Dollabella

     What you have said so sinks into my soul

     That if I must speak, I shall speak just so.

Antony

     I leave you then to your sad task: farewell.

     I sent her word to meet you.

                                                         (Goes to the door and comes back)

                                                   I forgot:

     Let her be told I'll make her peace with mine;

     Her crown and dignity shall be preserved,

     If I have power with Caesar. – Oh, be sure

     To think on that. 

Dollabella               Fear not, I will remember.

                                     (Antony goes again to the door and comes back)

Antony

     And tell her too how much I was constrained;

     I did not this but with extremest force.

     Desire her not to hate my memory,

     For I still cherish hers; insist on that.

Dollabella

     Trust me, I'll not forget it.

Antony                                  Then that's all.

                                                                  (Goes out and returns again)

     Wilt thou forgive my fondness this once more?

     Tell her, though we shall never meet again,

     If I should hear she took another love,

     The news would break my heart. Now I must go,

     For every time I have returned, I feel

     My soul more tender, and my next command

     Would be to bid her stay, and ruin both.                                   (Exit)

Dollabella

     Men are but children of a larger growth;

     Our appetites as apt to change as theirs,

     And full as craving too, and full as vain.

     And yet the soul, shut up in her dark room,

     Viewing so clear abroad, at home sees nothing;

     But like a mole in earth, busy and blind,

     Works all her folly up and casts it outward

     To the world's open view: thus I discovered,

     And blamed, the love of ruined Antony,

     Yet wish that I were he, to be so ruined.              

– John Dryden, All for Love (1677)

Visual Preferences (20th Century: 1982)

Alice Neel
The Youth
1982
lithograph
Loeb Art Center, Vassar College,
Poughkeepsie, New York

Arnold Newman
Plaster Casts - George Segal's Studio, New Jersey
1982
gelatin silver print
San Diego Museum of Art

Barbara Noah
Tag V
1982
hand-colored photo-etching
Tacoma Art Museum, Washington State

Anne Noggle
Viola Bird
1982
gelatin silver print
Tacoma Art Museum, Washington State

Lucio Pozzi
Three Memories in a Red Storm
1982
oil on canvas
Portland Museum of Art, Maine

Robert Rauschenberg
Untitled
1982
collage on cardboard with textile backing
Menil Collection, Houston

Gerhard Richter
Candle
1982
oil on canvas
Art Institute of Chicago

Gerhard Richter
Two Candles
1982
oil on canvas
Art Institute of Chicago

Bridget Riley
Elapse
1982
screenprint
Loeb Art Center, Vassar College, Poughkeepsie, New York

Richard Ross
Booth's Bird Museum, Brighton, England
1982
C-print
Weatherspoon Art Museum, Greensboro, North Carolina

David Salle
Poverty Is No Disgrace
1982
oil and acrylic on three canvases, with attached chair-form
Akron Art Museum, Ohio

Frank Stella
Shards I
1982
lithograph and screenprint
Dallas Museum of Art

Stephen Tanis
Green Package
1982
watercolor on paper
Delaware Art Museum, Wilmington

Bernard Villemot
Bally
1982
screenprint
(poster advertising shoes)
Lowe Art Museum, University of Miami

Andy Warhol
Models posing as Sailors
1982
gelatin silver print
Fralin Museum of Art, Charlottesville, Virginia

Joel-Peter Witkin
Woman with Severed Head
1982
gelatin silver print
Akron Art Museum, Ohio

from Five Songs

Deftly, admiral, cast your fly

     Into the slow deep hover,

Till the wise old trout mistake and die;

     Salt are the deeps that cover

     The glittering fleets you led,

          White is your head.

Read on, ambassador, engrossed

     In your favorite Stendhal;

The Outer Provinces are lost,

     Unshaven horsemen swill

     The great wines of the Chateaux

          Where you danced long ago.

Do not turn, do not lift your eyes

     Toward the still pair standing

On the bridge between your properties,

     Indifferent to your minding:

     In its glory, in its power,

          This is their hour.

Nothing your strength, your skill, could do

     Can alter their embrace

Or dispersuade the Furies who

     At the appointed place

     With claw and dreadful brow

          Wait for them now.

– W.H. Auden (1948)

Lord Arundel's Collections

Ancient Greek Culture
Head of a Female Figure
2nd century BC
limestone
(discovered at the former site of Arundel House)
British Museum

Roman Empire
Altar Fragment with Married Couple
 AD 100-130
marble
(discovered at the former site of Arundel House)
British Museum

The two battered fragments of Roman sculpture above (only deemed worthy of "reference photos" taken with a crude flash and out of focus) were discovered on separate occasions in the nineteenth century at or near the riverside site where Arundel House had long since been demolished.  Receiving the pieces, officials at the British Museum were not slow to recall the famous collection of antiquities on display in Lord Arundel's gardens two hundred years earlier.  Stories are legion of the indifference of the later Howards to the gloomy lumps of stone left untended at the time of the Civil War, so the level of neglect required to see them reburied in the earth or submerged under water was not inconceivable.  Still, there is no solid evidence that either or both of these pieces did not arrive in London by other means.   

Ancient Greek Culture
Head of Homerus
(later known as the Arundel Sophocles)
2nd century BC
bronze
(formerly in the Arundel Collection)
British Museum

Ancient Greek Culture
Head of Homerus
(later known as the Arundel Sophocles)
19th century
plaster cast
Staatliche Kunstsammlungen, Dresden

Johann Heinrich Lips
Head of Homerus
(later known as the Arundel Sophocles)
1775
etching
Graphische Sammlung, Zentralbibliothek Zürich

Jean Baron after Thomas Wood
Head of Homerus
(later known as the Arundel Sophocles)
ca. 1790-1810
etching
British Museum

Jean Baron
Head of Homerus
(later known as the Arundel Sophocles)
ca. 1790-1810
etching
British Museum

Anonymous Sculptor
King Henry VIII
ca. 1630-40
limestone
(copy commissioned by Arundel)
Ashmolean Museum, Oxford

Egidio Moretti
An Orator
1614
marble
(commissioned by Arundel in Rome)
Ashmolean Museum, Oxford

Egidio Moretti
A Senator
1614
marble
(commissioned by Arundel in Rome)
Ashmolean Museum, Oxford

Again, in the case of the two statues above, a sub-standard level of museum photography indicates a correspondingly low status among museum professionals regarding these generic imitation-antiquities commissioned by Lord Arundel in Rome.  Egidio Moretti, the artist, was a low-end restorer with no reputation for independent work.  Better artists were certainly active in Rome at this time, but a foreign heretic like Arundel, even though a nobleman of political significance, could not obtain access to sculptors already committed to princes, cardinals, the emperor and the pope.      

Egidio Moretti
Armed Man
1614
marble
(commissioned by Arundel in Rome)
Ashmolean Museum, Oxford

Egidio Moretti
Armed Man
1614
marble
(commissioned by Arundel in Rome)
Ashmolean Museum, Oxford

Ancient Greek Culture
Torso of a Youth
5th century BC
marble
(formerly in the Arundel Collection)
Ashmolean Museum, Oxford

Ancient Greek Culture
Metrographical Relief
460-450 BC
marble
(formerly in the Arundel Collection)
Ashmolean Museum, Oxford

" . . . the foot in relief measures 29.42 centimeters, while the proportional foot of the four-cubit measurement represented by the outstretched arms is 34.33 centimeters, a 7 to 6 ratio with the shorter foot."  

Roman Empire
Sphinx
1st-3rd century AD
marble
(formerly in the Arundel Collection)
Ashmolean Museum, Oxford

Daniel Mytens
Portrait of Thomas Howard, Earl of Arundel
1630
oil on panel
Temple Newsam House, Leeds

 

Equine Participation

Aaron Bohrod
Four Horsemen
1974
oil on panel
Milwaukee Art Museum, Wisconsin

Marc Chagall
Le Cavalier
1966
oil on canvas
Milwaukee Art Museum, Wisconsin

Alen MacWeeney
Horsewoman, Ireland
1965
gelatin silver print
Loeb Art Center, Vassar College, Poughkeepsie, New York

Gordon Parks
Racetrack in Paris
1964
dye imbibition print
National Gallery of Art, Washington DC

Walter Hege
Parthenon, West Frieze, Horsebreaker
ca. 1928-29
gelatin silver print
Art Institute of Chicago

Jean-Léon Gérôme
Boy riding Horse
before 1904
drawing
British Museum

Albert Pinkham Ryder
The Racetrack
ca. 1896
oil on canvas
Cleveland Museum of Art, Ohio

Paul Gauguin
In the Vanilla Grove, Man and Horse
1891
oil on canvas
Guggenheim Museum, New York

Gustave Surand
St George and the Dragon
1888
oil on canvas
Los Angeles County Museum of Art

Constantin Guys
Sketch of Horsewoman
ca. 1842-48
watercolor on paper
Ashmolean Museum, Oxford

Anonymous Italian Sculptor
Horse of San Marco
ca. 1816-17
plaster cast
Gallerie dell'Accademia, Venice

Abraham Pietersz van Kalraet
Horses and Cattle in a Landscape
ca. 1680-1700
oil on panel
Barber Institute of Fine Arts, University of Birmingham, West Midlands

Simone Cantarini (il Pesarese)
Homage to Scipione Borghese
ca. 1633
etching
Clark Art Institute, Williamstown, Massachusetts

Anthony van Dyck
Equestrian Portrait of Charles V, Holy Roman Emperor
ca. 1620
oil on canvas
Gallerie degli Uffizi, Florence

Severo da Ravenna
Child on Rearing Horse
before 1563
(marble and gilt-bronze mount added in France ca. 1760)
bronze
Musée du Louvre

Andrea del Verrocchio
Study of one of the Bronze Horses of San Marco
before 1488
drawing
Musée du Louvre

Roman Empire
Man restraining Horse
1st century AD
vessel fragment of cast cameo glass
Getty Museum, Los Angeles

    Renaissance cabinets of curiosity typically contained both natural and man-made wonders.  There was debate among contemporary scholars and collectors over the origin of what are now known as prehistoric stone tools (such as flint hand axes) which had found their way into these gentlemanly accumulations.  Ulisse Aldrovandi (1522-1605), the first professor of natural sciences at the University of Bologna, favored a "natural" explanation, holding that the shaped flints had fallen out of the sky.  They existed, he explained, "due to an admixture of a certain exhalation of thunder and lightning with metallic matter, chiefly in dark clouds, which is coagulated by the circumfused moisture and conglutinated into a mass (like flour and water) and subsequently indurated by heat, like a brick."