Arranged

Mickalene Thomas
Interior: Monet's Blue Foyer
2012
oil paint, acrylic paint and enamel on canvas
Buffalo AKG Art Museum, New York

Jakob Weidemann
Interior with Man
1942
oil on board
private collection

Geoffrey Tibble
Figures in an Interior
before 1952
watercolor and gouache on paper
private collection

Jacques Villon
Interior
1913
oil on canvas
private collection

Édouard Vuillard
Interior
ca. 1913
distemper on cardboard
Musée des Beaux-Arts et d’Archéologie de Troyes

Anonymous French Makers
Cabinet bibliothèque de l'hôtel Villemaré-Dangé, Paris
18th century
boiseries
Musée du Louvre

Leo Whelan
Kitchen Interior with Maid
ca. 1920-25
oil on canvas
private collection

Félix Vallotton
Interior with Woman in Red
1903
oil on canvas
Kunsthaus Zürich

Gustav Wentzel
Interior in Paris
1884
oil on canvas
Nasjonalmuseet, Oslo

André Kertész
Snake in Interior
1960
platinum print
Museum of Modern Art, New York

Anonymous English Painter
Interior Scene
19th century
oil on paper
Ashmolean Museum, Oxford

Henri Matisse
Interior with Violin Case
1918-19
oil on canvas
Museum of Modern Art, New York

Ernest Townsend
Summer Morning Interior
1917
oil on canvas
Derby Museum and Art Gallery

Jacobus Vrel
Interior Scene with Mother and Children
1654
oil on panel
Detroit Institute of Arts

Samuel van Hoogstraten
Interior View through Doorway
1658
oil on canvas
Musée du Louvre

Pablo Picasso
Interior with Girl drawing
1935
oil on canvas
Museum of Modern Art, New York

Joan Miró
Dutch Interior (I)
1928
oil on canvas
Museum of Modern Art, New York

The Hammers

Noise of hammers once I heard,

Many hammers, busy hammers,

Beating, shaping, night and day,

Shaping, beating dust and clay

To a palace; saw it reared; 

Saw the hammers laid away.

And I listened, and I heard

Hammers beating, night and day,

In the palace newly reared,

Beating it to dust and clay:

Other hammers, muffled hammers,

Silent hammers of decay.

– Ralph Hodgson (1907)

Focus

Giorgione (Giorgio Barbarelli)
Figure from the Fondaco dei Tedeschi
ca. 1508
detached exterior fresco
Museo di Palazzo Grimani, Venice

Domenico Brusasorci
Nymphs from Palazzo Fiorio della Seta, Verona
ca. 1550
detached exterior fresco
Museo degli affreschi Giovanni Battista Cavalcaselle, Verona

Jan de Bisschop
Market Scene under Trees at Katwijk op Rijn
ca. 1650-55
drawing
Getty Museum, Los Angeles

Frédéric Flachéron
Bas-Relief from the Arch of Constantine, Rome
1849
paper negative
Metropolitan Museum of Art, New York

Frederic Edwin Church
The Meteor
1860-61
oil on paper, mounted on canvas
Wadsworth Atheneum, Hartford, Connecticut

Julia Margaret Cameron
A Lovely Sketch
1873
albumen silver print from glass negative
Metropolitan Museum of Art, New York

Constantin Mitrofanovich Flórinsky
Self Portrait
(officer of His Majesty, Tsar Nicholas II)
1907
autochrome
Metropolitan Museum of Art, New York

Alberto Giacometti
Diego
1953
oil on canvas
Guggenheim Museum, New York

Eric Orr
Red Ecliptic
1987
oil on canvas
Buffalo AKG Art Museum, New York

Jay Boersma
Recliner of Turin
1988
gelatin silver print
Art Institute of Chicago

Ralph Gibson
Untitled (T-shirt Portrait)
1990
C-print
Loeb Art Center, Vassar College,
Poughkeepsie, New York

Christopher Bucklow
Guest
1995
C-print from camera with multiple pinholes
Metropolitan Museum of Art, New York

Siegrun Appelt
Landscape V
1996
C-print shot from moving train between Naples and Rome
Metropolitan Museum of Art, New York

Thomas Ruff
jpeg de01
2005
C-print
Smithsonian American Art Museum, Washington DC

Lisa Tyson Ennis
Moonlit Tent 2 a.m.
2007
gelatin silver print
Delaware Art Museum, Wilmington

Todd Hido
#10552
2011
inkjet print
Smithsonian American Art Museum, Washington DC

Andrew Cranston
Those Who Hide Well Live Well
2022
distemper on linen
Scottish National Gallery of Modern Art, Edinburgh

from On Hope

By Way of Question and Answer Between Abraham Cowley and Richard Crashaw

Cowley.          Hope, Fortune's cheating lottery,    

                    Where for one prize an hundred blanks there be;

                    Fond archer Hope, who tak'st thine aim so far   

                    That still or short or wide thine arrows are.

                        Thine empty cloud the eye itself deceives

                        With shapes that our own fancy gives:

                        A cloud which gilt and painted now appears

                            But must drop presently in tears.

                    When thy false beams o'er reason's light prevail,

                    By ignes fatui, not North Stars, we sail.                                              

Crashaw.         Fortune, alas, above the world's law wars;

                    Hope kicks the curled heads of conspiring stars.

                    Her keel cuts not the waves, where our winds stir,

                    And Fate's whole lottery is one blank to her.

                        Her shafts and she fly far above,

                        And forage in the fields of light and love.

                        Sweet Hope! kind cheat! fair fallacy! by thee

                            We are not where or what we be,

                    But what and where we would be: thus art thou

                    Our absent presence, and our future now. 

                        

– Abraham Cowley and Richard Crashaw (ca. 1645)

Ornamental

attributed to Giovanni Battista Palumba
Leda and the Swan with four infants hatched from eggs:
Castor, Pollux, Helen and Clytemnestra
ca. 1500-1520
drawing (print study)
British Museum

Parmigianino (Francesco Mazzola)
Figure Studies
ca. 1526-27
drawing
British Museum

Patanazzi Family of Urbino
Pilgrim Flask with Heraldic Shield
ca. 1600
maiolica
British Museum

Giulio Parigi
Baroque Landscape with Hunter
1612
drawing
British Museum

Claes Jansz Visscher
St Anthonis Poort, Amsterdam
ca. 1633
drawing (print study)
British Museum

Hendrick Cornelisz Vroom
Coast Scene with Rock Formation
before 1640
drawing
British Museum

Gian Paolo Panini
Capriccio of Classical Architecture with Figures
before 1765
drawing
British Museum

Joseph-Marie Vien
Sultane Reine
1748
etching
British Museum

Jean-Baptiste Pillemont
Landscape with Washerwomen and Fishermen
ca. 1775
oil on canvas
Liechtenstein Museum, Vienna

Mary Delany
Pontederia Cordata
1782
collage, watercolor and gouache on paper
British Museum

Johann August Nahl the Younger
Bacchante
ca. 1790-1800
etching
British Museum

Nicola Vianelli
Arch of Benevento
1848
drawing
British Museum

Joseph Noel Paton
Drapery Study
1884
drawing
British Museum

Henry Oliver Walker
Mrs William T. Evans and her Son
1895
oil on canvas
Smithsonian American Art Museum, Washington DC

Édouard Vuillard
Place Vintimille
1909-1910
distemper on paper, mounted on canvas
(pair of decorative panels)
Guggenheim Museum, New York

Raoul Dufy
Hommage à Mozart
1915
watercolor and ink on paper
Buffalo AKG Art Museum, New York

John Walker
Ithaca
1993
lithograph and screenprint
Smithsonian American Art Museum, Washington DC

Solum Mihi Superest Sepulchrum

    Welcome, thou safe retreat!

Where the injured man may fortify

'Gainst the invasions of the great;

Where the lean slave, who the oar doth ply,

Soft as his admiral may lie.

    Great statist! 'Tis your doom,

Though your designs swell high and wide,

To be contracted in a tomb!

And all your happy cares provide

But for your heir authórized pride. 

    Nor shall your shade delight

In the pomp of your proud obsequies.

And should the present flattery write

A glorious epitaph, the wise

Will say, 'The poet's wit here lies.'

    How reconciled to fate

Will grow the agèd villager,

When he shall see your funeral state!

Since death will him as warm inter

As you in your gay sepulchre.

    The great decree of God

Makes every path of mortals lead

To this dark common period.

For what by ways so e'er we tread,

We end our journey 'mong the dead. 

    Even I, while humble zeal

Makes fancy a sad truth indite,

Insensible away do steal;

And when I'm lost in death's cold night,

Who will remember, now I write?

– William Habington (1634)