Joan Mitchell / Michael Goldberg

Joan Mitchell
My Landscape II
1967
oil on canvas
Smithsonian American Art Museum, Washington DC

Joan Mitchell
Field for Skyes
1973
oil on canvas
Hirshhorn Museum, Washington DC

Joan Mitchell
Weeds
1976
oil on canvas
Hirshhorn Museum, Washington-DC

Anonymous Photographer
Joan Mitchell with Michael Goldberg
ca. 1950
 gelatin silver print
Archives of American Art, Washington DC

Joan Mitchell
Letter to Michael Goldberg
ca. 1950
ink on paper
Archives of American Art, Washington DC

                                                           

Hey beautiful
                 Just got your letter – "oh for just a chance to love you – could I love you" – can't figure out whether I like the radio on or off – Je t'aime – God you mean a lot to me – it's never been like this before in my life. I cleaned the studio – made the bed – I like it so much – the white palette things are sort of in the middle of the room – I can't paint against the wall like you had them – I'm using this paint off your palette – I feel so close to you – I'm still working on that green & black thing – so slow and it's so big – started a couple more little – nothings much – I keep thinking we could live here together but I must not think at all. Drank a bottle of bourbon with Guston last night – talked about painting – we don't agree at all but he was nice – he doesn't like Gorky or de Kooning – likes Mondrian and more intellectual or classic or whatever you call them things. I would like to paint a million black lines all crossing like Beckmann – beautiful – agony or not . . .

Michael Goldberg
Untitled
1951-52
oil on canvas
Whitney Museum of American Art, New York

Michael Goldberg
Hill #12
1953
oil on canvas
Smithsonian American Art Museum, Washington DC

Michael Goldberg
Sardines
1955
oil on canvas
Smithsonian American Art Museum, Washington DC

Michael Goldberg
Red Sunday Morning
1955-56
oil on canvas
Chrysler Museum of Art, Norfolk, Virginia

Michael Goldberg
The Creeks
1959
oil on canvas
Smithsonian American Art Museum, Washington DC

Michael Goldberg
Odes by Frank O'Hara
with Prints by Michael Goldberg
1960
screenprint (book cover)
Whitney Museum of American Art, New York

Michael Goldberg
Untitled
1962
ink on paper
Whitney Museum of American Art, New York

Michael Goldberg
Still Life
1965
oil on canvas
Smithsonian American Art Museum, Washington DC

Michael Goldberg
New Canaan
1965
oil on canvas
Smithsonian American Art Museum, Washington DC

Michael Goldberg
Landscape
1965
oil pastel and collage on linen
Smithsonian American Art Museum, Washington DC

Michael Goldberg
Le Grotte Vecchie I
1981
mixed media on canvas
Buffalo AKG Art Museum, New York

Michael Goldberg
Untitled
1983
collograph and engraving
Princeton University Art Museum

from Ode 29, Book 3, paraphrased in Pindarique Verse

        Enjoy the present smiling hour;

        And put it out of Fortune's power:

    The tide of business, like the running stream,

        Is sometimes high, and sometimes low,

    A quiet ebb, or a tempestuous flow,

            And always in extream.

        Now with a noiseless gentle course

        It keeps within the middle Bed;

        Anon it lifts aloft the head,

And bears down all before it, with impetuous force:

        And trunks of Trees come rowling down,

        Sheep and their Folds together drown:

    Both House and Homestead into Seas are borne,

    And Rocks are from their old foundations torn,

And woods made thin with winds, their scattered honours mourn.

        Happy the Man, and happy he alone,

            He, who can call to day his own:

            He, who secure within, can say

        Tomorrow do thy worst, for I have lived today.

            Be fair, or foul, or rain, or shine,

    The joys I have possest, in spight of fate are mine.

        Not Heav'n itself upon the past has power;

But what has been, has been, and I have had my hour.  

– Horace (65-8 BC), translated by John Dryden (1685)

Scrutiny (Torsos)

Pavel Tchelitchew
Anatomical Torso
1947
drawing (crayon)
Yale University Art Gallery

Constantino Squanquerillo
Écorché Torso
1838
lithograph
Wellcome Collection, London

Antonio Durelli
Écorché Torso
1837
drawing
Wellcome Collection, London

Nicole Polonsky
Skeleton Torso
ca. 1985
oil on canvas
Examination Schools, University of Oxford

W. Bagg
Torso with Chloasma
1847
hand-colored lithograph
Wellcome Collection, London

Cigoli (Lodovico Cardi)
Écorché Torso
ca. 1600
drawing
Wellcome Collection, London

Adêle Mongrédien
Muscles of the Torso
1880
watercolor
Wellcome Collection, London

Jacques-Fabien Gautier-Dagoty
Torso
1746
color mezzotint
(book illustration)
Yale University Art Gallery

Ancient Roman Culture
Votive Male Torso
2nd century BC - 2nd century AD
terracotta-
Wellcome Collection, London

Dennis Beall
Torso with Plane
1967
color collagraph
Fine Arts Museums of San Francisco
(Achenbach Foundation)

Christian Burchard
Torsos
2005
madrone wood
Yale University Art Gallery

Pia Stadtbäumer
Torsos with Cuts
1995
bronze
Denver Art Museum

Mark Cohen
Torso / Square
1974
gelatin silver print
Carnegie Museum of Art, Pittsburgh

Michel Martin Drölling
Torso with Jacket
(study for portrait)
ca. 1840-50
drawing
High Museum of Art, Atlanta

Manuel Neri
Torso Studies
1963
acrylic paint, oil pastel and collage on paper
Yale University Art Gallery

Josef Istler
Torso
1946
oil on cardboard
Národní Galerie, Prague

from Supernatural Songs

Because you have found me in the pitch-dark night 
With open book you ask me what I do.
Mark and digest my tale, carry it afar
To those that never saw this tonsured head
Nor heard this voice that ninety years have cracked.

Of Baile and Aillinn you need not speak,

All know their tale, all know what leaf and twig,
What juncture of the apple and the yew,
Surmount their bones; but speak what none have heard. 

– W.B. Yeats (1935)