Cuts

Martin Mazorra
Indivisible
2017
linocut
San Francisco Museum of Modern Art

Anonymous Italian Printmaker
Memento Mori
ca. 1740
chiaroscuro woodcut (funerary placard)
Ashmolean Museum, Oxford

Alison Saar
Hepcat
2019
linocut
Crocker Art Museum, Sacramento, California

Antonio Fantuzzi (Antonio da Trento) after Parmigianino
Martyrdom of St Peter and St Paul
ca. 1545
chiaroscuro woodcut
Loeb Art Center, Vassar College, Poughkeepsie, New York

Georg Baselitz
Nude with Three Arms
1977
hand-colored linocut
Museum of Modern Art, New York

Raoul Dufy
Apollo
1911
woodcut
Museum of Modern Art, New York

Ludwig Hirschfeld-Mack
Hay Camp, New South Wales
(for prisoners-of-war)
1941
woodcut
British Museum

Sophie Tauber-Arp
Untitled
1941
linocut
Museum of Modern Art, New York

Jan Swart van Groningen
Suleyman the Great
1526
hand-colored woodcut
British Museum

Anselm Kiefer
Grane
ca. 1980-90
hand-colored woodcut
Museum of Modern Art, New York

Monogrammist 4+ (German printmaker)
Judith with the Head of Holofernes
1565
woodcut
British Museum

Alexey Brodovitch
Martini (Turin)
1926
linocut
Museum of Modern Art, New York

Alex Katz
Forest
2009
woodcut and linocut
Museum of Modern Art, New York

Christian Rohlfs
Prisoner
1918
woodcut
Museum of Modern Art, New York

Pablo Picasso
Nature Morte à la Bouteille
1962
linocut
Loeb Art Center, Vassar College, Poughkeepsie, New York

Lyubov Popova
Untitled
ca. 1917-19
hand-colored linocut
Museum of Modern Art, New York

Max Bill
Untitled
1941
color woodblock print
Museum of Modern Art, New York

    Besides its unreasonableness, there is an even more serious objection to Blake's mysticism – and indeed to all mysticism: its lack of humanity.  The mystic's creed – even when arrayed in the wondrous and ecstatic beauty of Blake's verse – comes upon the ordinary man, in the rigidity of its uncompromising elevation, with a shock which is terrible, and almost cruel.  The sacrifices which it demands are too vast, in spite of the divinity of what it has to offer. What shall it profit a man, one is tempted to exclaim, if he gain his own soul, and lose the whole world?  The mystic ideal is the highest of all; but it has no breadth.

– Lytton Strachey on William Blake (1906)

Interior Dispositions

Jean-Baptiste Louis Gros
Salon of Baron Gros
ca. 1850
daguerreotype
Metropolitan Museum of Art, New York

Bernard Hall
Interior
ca. 1925
oil on canvas
Art Gallery of New South Wales, Sydney

Donald Deskey
Design for Living-Room, Rand Apartment, New York
ca. 1934
ink on paper
Cooper Hewitt, Smithsonian Design Museum

John Hertzberg
Interior
ca. 1935
gelatin silver print
Moderna Museet, Stockholm

Walker Evans
Untitled
ca. 1940
gelatin silver print
Smithsonian American Art Museum, Washington DC

Wanda Gág
Macy's Stairway
1941
lithograph
Whitney Museum of American Art, New York

David Vestal
Grove Street, Evsa Model's Studio, Greenwich Village
1951
gelatin silver print
Chrysler Museum of Art, Norfolk Virginia

Anonymous Photographer
Mark Rothko installation at Betty Parsons Gallery, New York
1952
gelatin silver print
Archives of American Art, Washington DC

Mark Cohen
Three Chairs, Mexico
1981
gelatin silver print
Smithsonian American Art Museum,
Washington DC

Julie Becker
Interior Corner #2
1993
C-print
Guggenheim Museum, New York

James Casebere
Asylum
1994
C-print
Guggenheim Museum, New York

Mark Wethli
Night
1995
oil on linen
Farnsworth Art Museum, Rockland, Maine

Todd Hido
#1637
1996
C-print mounted on aluminum
Whitney Museum of American Art, New York

Corin Hewitt
85 Union Street Kitchen
2002
C-print
Whitney Museum of American Art, New York

Corin Hewitt
85 Union Street Living Room
2002
C-print
Whitney Museum of American Art, New York

Alec Soth
New Orleans, LA
2003
C-print
Whitney Museum of American Art, New York

Popel Coumou
Untitled
2020
inkjet print
Kunstmuseum, The Hague

The Dog from Malta

He came from Malta, and Eumelus says

He had no dog like him in all his days;

We called him Bull; he went into the dark;

Along those roads we cannot hear him bark.

– Tymnes (possibly 3rd century BC), translated by Edmund Blunden (1932)

František Drtikol

František Drtikol
Praha
1910
gelatin silver print
Los Angeles County Museum of Art

František Drtikol
Praha
1911
gelatin silver print
Princeton University Art Museum

František Drtikol
Reverie
1915
gelatin silver print
Los Angeles County Museum of Art

František Drtikol
Ervina
1920
gelatin silver print
Los Angeles County Museum of Art

František Drtikol
Nude & Ball
ca. 1920
gelatin silver print
Los Angeles County Museum of Art

František Drtikol
Seated Nude
ca. 1920
gelatin silver print
Los Angeles County Museum of Art

František Drtikol
Untitled
ca. 1927
gum bichromate print
Art Institute of Chicago

František Drtikol
Nude
ca. 1927-29
bromoil print
National Gallery of Victoria, Melbourne

František Drtikol
Composition:
Nude standing among Circular Constructions
ca. 1928
gelatin silver print
National Gallery of Australia, Canberra

František Drtikol
Untitled
ca. 1928
gelatin silver print
Los Angeles County Museum of Art

František Drtikol
Nude & Box
1928
gelatin silver print
Los Angeles County Museum of Art

František Drtikol
Nude
ca. 1930
gelatin silver print
Los Angeles County Museum of Art

František Drtikol
Untitled
ca. 1930
gelatin silver print
Moderna Museet, Stockholm

František Drtikol
Untitled
ca. 1930
gelatin silver print
Moderna Museet, Stockholm

František Drtikol
Untitled
ca. 1930
gelatin silver print
Moderna Museet, Stockholm

František Drtikol
Untitled (Nude & Patterned Curtain)
before 1961
gelatin silver print
Princeton University Art Museum

František Drtikol
Untitled (Nude & Roses)
before 1961
gelatin silver print
Princeton University Art Museum

from Pharsalia

Nor in the dying Embers of its Pile

Slept the great Soul upon the Banks of Nile,

Nor longer, by the Earthly Parts restrain'd,

Amidst its wretched Reliques was detain'd;

But active, and impatient of Delay,

Shot from the mould'ring Heap, and upward urg'd its way.

Far in those Azure Regions of the Air

Which border on the rowling starry Sphere,

Beyond our Orb, and nearer to that height,

Where Cinthia drives around her Silver Light;

Their happy Seats the Demy-Gods possess,

Refin'd by Virtue, and prepar'd for Bliss;

Of Life unblam'd, a pure and pious Race,

Worthy that lower Heav'n and Stars to grace,

Divine, and equal to the glorious Place.

There Pompey's Soul, adorn'd with heav'nly Light,

Soon shone among the rest, and as the rest was bright.

New to the blest Aboad, with Wonder fill'd,

The Stars and moving Planets he beheld;

Then looking down on the Sun's feeble Ray,

Survey'd our dusky, faint, imperfect Day,

And under what a Cloud of Night we lay.

But when he saw, how on the Shoar forlorn

His headless Trunk was cast for publick Scorn;

When he beheld, how envious Fortune, still,

Took Pains to use a senseless Carcass ill,

He smil'd at the vain Malice of his Foe,

And pity'd impotent Mankind below.

Then lightly passing o'er Æmathia's Plain,

His flying Navy scatter'd on the Main,

And cruel Caesar's Tents; he fix'd at last

His Residence in Brutus' sacred Breast:

There brooding o'er his Country's Wrongs he sate,

The State's Avenger, and the Tyrant's Fate;

There mournful Rome might still her Pompey find,

There, and in Cato's free unconquer'd Mind. 

– Lucan (AD 39-65), translated by Nicholas Rowe (1718)