Rest

Quinten Metsys
Rest on the Flight into Egypt
ca. 1510
oil on panel
Worcester Art Museum, Worcester, Massachusetts

Anonymous Netherlandish Artist
Rest on the Flight into Egypt
ca. 1550-1600
oil on panel
Museum De Lakenhal, Leiden

Luca Cambiaso
Rest on the Flight into Egypt
ca. 1560
drawing
Musée des Beaux-Arts de Lyon

Camillo Procaccini
Rest on the Flight into Egypt
ca. 1583
etching
Graphische Sammlung, ETH Zürich

Hans Rottenhammer
Rest on the Flight into Egypt
ca. 1595-97
oil on copper
Alte Pinakothek, Munich

Jan Brueghel the Elder and workshop
Rest on the Flight into Egypt
ca. 1600
oil on panel
Alte Pinakothek, Munich

Francesco Albani
Rest on the Flight into Egypt
ca. 1604
oil on panel
Princeton University Art Museum

Simone Cantarini (il Pesarese)
Rest on the Flight into Egypt
ca. 1630-40
engraving
Graphische Sammlung, ETH Zürich

Simon Vouet
Rest on the Flight into Egypt
ca. 1638-39
oil on canvas
Musée de Grenoble

Claude Lorrain
Rest on the Flight into Egypt
ca. 1640
oil on canvas
Joslyn Art Museum, Omaha

Francesco Albani
Rest on the Flight into Egypt
ca. 1640
oil on canvas
Národní Galerie, Prague

Pier Francesco Mola
Rest on the Flight into Egypt
ca. 1660
drawing
Kupferstichkabinett, Staatliche Museen zu Berlin

Antonio Domenico Triva
Rest on the Flight into Egypt
ca. 1675
etching
Hamburger Kunsthalle

Carlo Saraceni
Rest on the Flight into Egypt
ca. 1692
oil on canvas
Kunsthistorisches Museum, Vienna

Ignác Bendl
Rest on the Flight into Egypt
1700
etching
Museum of Fine Arts, Boston

Giuseppe Bartolomeo Chiari
Rest on the Flight into Egypt
1720
oil on canvas
Statens Museum for Kunst, Copenhagen

The Athenians, as long as the army of the enemy lay about Eleusis and the fields of Thrius and as long as they had any hope it would come on no farther, remembering that also Pleistoanax the son of Pausanias, king of Lacedaemon, when fourteen years before this war he entered Attica with an army of the Peloponnesians as far as Eleusis and Thriasia, retired again and came no farther (for which he was also banished Sparta as thought to have gone back for money), they stirred not.  But when they saw the army now at Acharnas but sixty furlongs from the city, then they thought it no longer to be endured; and when their fields were wasted (as it was likely) in their sight, which the younger sort had never seen before nor the elder but in the Persian war, it was taken for a horrible matter and thought fit by all, especially the youth, to go out and not endure it any longer.  And holding councils apart from one another, they were at much contention, some to make a sally and some to hinder it.  And the priests of the oracles giving out prophecies of all kinds, everyone made the interpretation according to the sway of his own affection.  But the Acharnians, conceiving themselves to be no small part of the Athenians, were they that, whilst their own lands were wasting, most of all urged their going out.  Insomuch as the city was every way in tumult and in choler against Pericles, remembering nothing of what he had formerly admonished them, but reviled him for that being their general he refused to lead them into the field, and imputing unto him the cause of all their evil. 

– from The Peloponnesian War as written by Thucydides (5th century BC) and translated by Thomas Hobbes (1628) and edited by David Grene (1959)

Masked

Anonymous French Sculptor
Mask of Satyr
17th century
marble
Clark Art Institute, Williamstown, Massachusetts

Henri Matisse
Open Window, Collioure
1905
oil on canvas
National Gallery of Art, Washington DC

Franz Antoine
Family Group in a Garden
ca. 1860
albumen silver print from glass negative
Metropolitan Museum of Art, New York

Joe Zucker
Octopus 2
1981
acrylic and resin on canvas
Buffalo AKG Art Museum, New York

Anonymous French Sculptor
Head of a King
ca. 1225-50
limestone
(detached from statue during the French-Revolution)
Musée du Louvre

Henri Matisse
Pot of Geraniums
1912
oil on linen
National Gallery of Art, Washington DC

Franz Antoine
Hermine and Marie Antoine
ca. 1862
albumen silver print from glass negative
Metropolitan Museum of Art, New York

Larry Zox
Decorah (Single Gemini Series)
1968
acrylic on canvas
National Gallery of Art, Washington DC

Anonymous French Sculptor
Head of St Peter
ca. 1130-60
stone
(detached from lost statue)
Musée du Louvre

Henri Matisse
Reader on Black Ground
1939
oil on canvas
Musée National d'Art Moderne, Paris

Franz Antoine
Hofrat Raymond
ca. 1855
albumen silver print from glass negative
Metropolitan Museum of Art, New York

Thornton Willis
Sharon's Dream
1980
oilstick on paper
Buffalo AKG Art Museum, New York

Anonymous French Sculptor
Head of a Knight
ca. 1300
limestone
(detached-from tomb figure by Protestant rioters)
Musée du Louvre

Henri Matisse
Romanian Blouse
1937
oil on canvas
Cincinnati Art Museum, Ohio

Franz Antoine
Mathias Häusermann
ca. 1860
albumen silver print from glass negative
Metropolitan Museum of Art, New York

Jack Youngerman
Delfina
1961
oil on canvas
Buffalo AKG Art Museum, New York

Anonymous French Sculptor
Ornamental Mask
ca. 1580
painted terracotta
(fragment from chimneypiece)
Musée du Louvre

On the Lady Mary Villiers

The Lady Mary Villiers lies

Under this stone; with weeping eyes

The parents that first gave her birth,

And their sad friends, laid her in earth.

If any of them, Reader, were

Known unto thee, shed a tear;

Of if thyself possess a gem

As dear to thee, as this to them,

Though a stranger to this place,

Bewail in theirs thine own hard case:

        For thou perhaps at thy return

        Mayst find thy Darling in an urn. 

– Thomas Carew (1595-1640)

Artistic Kin

Théodore Chassériau
Portrait of Aline Chassériau
(the artist's sister)
1835
oil on canvas
Musée du Louvre

Joseph von Fuhrich
Portrait of the artist's sister Maria
ca. 1830
drawing
Graphische Sammlung Albertina, Vienna

Julius Hübner
Portrait of the artist's Sister
1824
oil on copper
Alte Nationalgalerie, Staatliche Museen zu Berlin

Georg Rueter
Portrait of Louise Rueter
(the artist's sister)
1899
oil on canvas
Teylers Museum, Haarlem

Polychronis Lembesis
Portrait of the artist's Brother
ca. 1885-90
oil on canvas
National Gallery, Athens

Wilhelm von Kobell
Portrait Study of the artist's Mother
1794
drawing
Graphische Sammlung Albertina, Vienna

Jacques-François Delyen
Portrait of the artist's Mother
1714
oil on canvas
Musée des Beaux-Arts de Nîmes

Egon Schiele
The artist's Mother asleep
1911
watercolor and gouache on paper
Graphische Sammlung Albertina, Vienna

Adalbert Begas
Portrait of Karl Joseph Begas
(father of the artist)
1848
etching and aquatint
Kupferstichkabinett, Staatliche Museen zu Berlin

Lovis Corinth
Portrait of the artist's father, Franz Heinrich Corinth
1883
oil on canvas
Lenbachhaus, Munich

Paul Mathey
Portrait of Pierre Mathey
(the artist's father)
ca. 1875
oil on canvas
Musée d'Orsay, Paris

Hendrik Leys
Portrait of Lucie Leys
(daughter of the artist)
1865
oil on panel
Royal Museum of Fine Arts, Antwerp

Hans Thoma
Portrait of Ella Blaue
(the artist's adopted daughter)
1903
oil on board
National Museum, Warsaw

Anton Graff
Portrait of Caroline Susanne Graff
(daughter of the artist)
1801
oil on canvas
Hamburger Kunsthalle

Franz Barwig
Portrait Study of the artist's Son
ca. 1921
drawing
Belvedere Museum, Vienna

Erik Werenskiold
Portrait of Dagfin Werenskiold
(son of the artist)
1917
oil on canvas
Prins Eugens Waldemarsudde, Stockholm

My life's cable, Myiscus, is made fast to thee; in thee is all the breath that is left to my soul.  For by thy eyes, dear boy, that speak even to the deaf, and by thy bright brow I swear it, if ever thou lookest at me with a clouded eye I see the winter, but if thy glance be blithe, the sweet spring bursts into bloom. 

Bravely shall I bear the sharp pain in my vitals and bond of the cruel fetters.  For it is not now only, Nicander, that I learn to know the wounds of love, but often have I tasted desire.  Do both thou, Adrasteia, and thou, Nemesis, bitterest of the immortals, exact due vengeance for his evil resolve. 

Love has discovered what beauty to mix with beauty; not emerald with gold, which neither sparkles nor could ever be its equal, nor ivory with ebony, black with white, but Cleander with Eubiotus, two flowers of Persuasion and Friendship. 

Sweet it is to mix with wine the bees' sugary liquor, and sweet to love a boy when oneself is lovely too, even as Alexis now loves soft-haired Cleobulus.  These two are the immortal metheglin of Cypris. 

Last evening Mocris, at the hour when we bid good night, embraced me, I know not whether in reality or in a dream.  I remember now quite accurately everything else, what he said to me and the questions he asked, but whether he kissed me too or not I am at a loss to know; for if it be true, how is it that I, who then became a god, am walking about on earth? 

I swore to thee, son of Cronos, that never, not even to myself, would I utter what Theudis told me I might have.  But my froward soul flies high in exultation and cannot contain the good.  But I will out with it: pardon me, Zeus.  "He yielded."  Father Zeus, what delight is there in good fortune that is known to none? 

– from Book XII (Strato's Musa Puerilis) in the Greek Anthology, translated and edited by W.R. Paton (1917)

Convergences - I

Louis Le Nain
Bacchus and Ariadne
ca. 1635
oil on canvas
Musée des Beaux-Art d'Orléans

Nicolas d'Ypres the Elder
St Joachim and St Anne meeting at the Golden Gate
ca. 1499-1500
oil on panel
Musée Comtadin-Duplessis, Carpentras

Franz Wiegele
Nudes in the Forest
1910-11
oil on canvas
Belvedere Museum, Vienna

Andrea Schiavone after Parmigianino
Minerva and the Muses on Mount Helicon
ca. 1540
etching and drypoint
Kupferstichkabinett, Staatliche Museen zu Berlin

Georg Oddner
Sommarparken, Leningrad
1955
gelatin silver print
Moderna Museet, Stockholm

Duane Michals
Paradise Regained
1968
gelatin silver prints
Museum Ludwig, Cologne

Domenico Puligo (Domenico Ubaldini)
Virgin and Child with St Sebastian and St Roch
ca. 1522-23
oil on canvas
Museum of Fine Arts, Budapest

Pierre Puvis de Chavannes
La Source
ca. 1869
oil on canvas
Musée des Beaux-Arts de Reims

Louis de Silvestre
Angelica and Medoro
(scene from Ariosto's Orlando Furioso)
1729-30
oil on canvas
Gemäldegalerie Alte Meister, Dresden

Jean-Joseph Taillasson
Liberty bringing Justice and Virtue to the People
ca. 1794-95
oil on canvas
Musée de la Révolution Française, Vizille

Jacopo de' Barbari
Figures of Victory and Fame
ca. 1498-1503
engraving
Graphische Sammlung Albertina, Vienna

Erich Heckel
Siblings
1913
woodcut
Nasjonalmuseet, Oslo

Henry Raeburn
The Allen Brothers
ca. 1790-92
oil on canvas
Kimbell Art Museum, Fort Worth, Texas

Antoine-Jean Gros
Portrait of the Maistre Sisters
1796
oil on canvas
Art Institute of Chicago

Johann-Andreas Herrlein
Maria Carolina and Heinrich Carl von Stein zum Altenstein
1769
oil on canvas
Museumslandschaft Hessen Kassel

Johann Sperl
Kindergarten
ca. 1885
oil on canvas
Neue Pinakothek, Munich

We wine-drinkers will pour a libation to Bacchus the awakener of laughter, with the cups we will expel man-killing care. Let toiling rustics supply their bread-tolerating bellies with the mother of black-robed Persephone, and we will leave to wild beasts and birds that feed on raw flesh the copious and bloody banquets of meat of slain bulls. Let us surrender the bones of fish that cut the skin to the lips of men to whom Hades is dearer than the sun. But for us let wine the bountiful be ever food and drink, and let others long for ambrosia. 

Death is a debt due by all men and no mortal knows if he shall be alive to-morrow. Take this well to heart, O man, and make thee merry, since thou possessest wine that is oblivion of death. Take joy too in Aphrodite whilst thou leadest this fleeting life, and give up all else to the control of Fortune. 

As thin little Proclus was blowing the fire the smoke took him up and went off with him from here through the window. With difficulty he swum to a cloud and came down through it wounded in a thousand places by the atomies. 

 

Epicurus wrote that all the world consisted of atoms, thinking, Alcimus, that an atom was the most minute thing. But if Diophantus had existed then he would have written that it consisted of Diophantus, who is much more minute than the atoms. Or he would have written that other things were composed of atoms, but the atoms themselves, Alcimus, of Diophantus. 

The astrologer Diophantus told Hermogenes the doctor that he had only nine months to live, and he, smiling, said, "You understand what Saturn says will happen in nine months, but my treatment is more expeditious for you." Having said so he reached out his hand and only touched him, and Diophantus, trying to drive another to despair, himself gave his last gasp.

Cytotaris with her grey temples, the garrulous old woman who makes Nestor no longer the oldest of men, she who has looked on the light longer than a stag* and has begun to reckon her second old age on her left hand,** is alive and sharp-sighted and firm on her legs like a bride, so that I wonder if something has not befallen Death. 

– from Book XI (Convivial and Satirical Epigrams) of the Greek Anthology, translated and edited by W.R. Paton (1917)

*stags were supposed to live four times as long as the long-lived crow

**the fingers of the right hand were used for counting hundreds and thousands, those of the left for decades and units – meaning that Cytotaris has reached a thousand and is now counting the years of the first century of her next thousand