Jack Mitchell

Jack Mitchell
Marge and Gower Champion
1958
gelatin silver print
National Portrait Gallery, Washington DC

Jack Mitchell
Alvin Ailey
1962
gelatin silver print
National Museum of African American
History and Culture, Washington DC

Jack Mitchell
Paul Taylor
1964
gelatin silver print
National Portrait Gallery, Washington DC

Jack Mitchell
Robert Joffrey
1964
gelatin silver print
National Portrait Gallery, Washington DC

Jack Mitchell
Marisol
1968
gelatin silver print
Delaware Art Museum, Wilmington

Jack Mitchell
Judith Jamison in Icarus
1969
color slide
National Museum of African American History and Culture, Washington DC

Jack Mitchell
Judith Jamison in Icarus
1969
gelatin silver print
National Museum of African American
History and Culture, Washington DC

Jack Mitchell
Ellsworth Kelly
1970
gelatin silver print
National Portrait Gallery, Washington DC

Jack Mitchell
Ray Johnson
1971
gelatin silver print
National Portrait Gallery, Washington DC

Jack Mitchell
Richard Estes
1971
gelatin silver print
National Portrait Gallery, Washington DC

Jack Mitchell
Robert Indiana
1971
gelatin silver print
National Portrait Gallery, Washington DC

Jack Mitchell
Sarah Caldwell
1975
gelatin silver print
National Portrait Gallery, Washington DC

Jack Mitchell
Leontyne Price
1978
gelatin silver print
National Museum of African American
History and Culture, Washington DC

Jack Mitchell
James Levine
1982
gelatin silver print
National Portrait Gallery, Washington DC

 

Jack Mitchell
Audrey Lorde
1983
gelatin silver print
National Museum of African American
History and Culture, Washington DC

Jack Mitchell
Katherine Dunham Dance Company
1987
gelatin silver print
National Museum of African American History and Culture, Washington DC

Jack Mitchell
Leonard Meek
1992
gelatin silver print
National Museum of African American
History and Culture, Washington DC

    

        "Is this disloyal of me when they've been so kind?  I can't resist it.  Peter Brook said R. Morley's great fault is he is so disloyal & I replied well I'm very disloyal myself so it's not a thing I ever mind at all.  He said he'd never heard anybody own to it before – awfully surprised."

– Nancy Mitford, letter to Lady Diana Cooper, 6 September 1950

Catherine Opie

Catherine Opie
Self Portrait
1970
inkjet print
Carnegie Museum of Art, Pittsburgh

Catherine Opie
Justin Bond
1993
C-print
NSU Art Museum, Fort Lauderdale, Florida

Catherine Opie
Frankie
1994
C-print
Los Angeles County Museum of Art

Catherine Opie
Flipper, Tanya, Chloe & Harriet, San Francisco, California
1995
C-print
Whitney Museum of American Art, New York

Catherine Opie
Untitled
1997
inkjet print
Art Institute of Chicago

Catherine Opie
Melissa & Lake, Durham, North Carolina
1998
C-print
Guggenheim Museum, New York

Catherine Opie
Untitled
(Surfers Series)
2002-2003
C-print
Buffalo AKG Art Museum, New York

Catherine Opie
Self Portrait Nursing
2004
C-print
Guggenheim Museum, New York

Catherine Opie
Saint Gilles du Gard
2007
three C-prints
Carnegie Museum of Art, Pittsburgh

Catherine Opie
Untitled #6
(Inauguration Series)
2009
pigment print
Hirshhorn Museum, Washington DC

Catherine Opie
Untitled #26
(Inauguration Series)
2009
pigment print
Hirshhorn Museum, Washington DC

Catherine Opie
Untitled #27
(Inauguration Series)
2009
pigment print
Hirshhorn Museum, Washington DC

Catherine Opie
Untitled #31
(Inauguration Series)
2009
pigment print
Hirshhorn Museum, Washington DC

Catherine Opie
Untitled #32
(Inauguration Series)
2009
pigment print
Hirshhorn Museum, Washington DC

Catherine Opie
Diana Nyad
2010
inkjet print
National Portrait Gallery, Washington DC

Catherine Opie
Elizabeth
2013
inkjet print
Institute of Contemporary Art, Boston

from Ode 29, Book 3, paraphrased in Pindarique Verse

 

Descended of an ancient Line,

    That long the Tuscan Scepter swayed,

Make haste to meet the generous wine,

    Whose piercing is for thee delayed:

The rosie wreath is ready made;

    And artful hands prepare

The fragrant Syrian oyl, that shall perfume thy hair. 

When the Wine sparkles from afar,

    And the well-natured Friend cries, come away;

Make haste, and leave thy business and thy care,

    No mortal int'rest can be worth thy stay.

Leave for a while thy costly Country Seat;

    And, to be great indeed, forget

The nauseous pleasures of the Great:

    Make haste and come:

Come and forsake thy cloying store;

    Thy Turret that surveys, from High,

The Smoke, and wealth, and noise of Rome;

    And all the busie pageantry

That wise men scorn, and fools adore:

Come, give thy Soul a loose, and taste the pleasures of the poor.

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

Groups - IV

Adam de Colone
George Seton, 8th Lord Seton
and 3rd Earl of Winton with his Sons
1625
oil on canvas
Scottish National Portrait Gallery, Edinburgh

Anonymous Netherlandish Artist
Family in Prayer
ca. 1545-55
oil on panel
Dordrechts Museum

Wilhelm Ferdinand Bendz
Portrait of the Raffenberg Family
1830
oil on canvas
Statens Museum for Kunst, Copenhagen

Svein Bolling
Death in the Heart
ca. 1997-2002
drawing
Lillehammer Kunstmuseum, Norway

Lovis Corinth
The Artist and his Family
ca. 1910
oil on canvas
Landesmuseum Hannover

Gustave Courbet
Pierre-Joseph Proudhon and his Children in 1853
1865
oil on canvas
Musée du Petit Palais, Paris

Conrad Faber von Creuznach
Portrait of Justinian von Holzhausen
and his wife Anna, née Fürstenberg, with Cupid
1536
oil on panel
Städel Museum, Frankfurt

Hans Gjesme
Portrait
ca. 1925
oil on canvas
Sogn og Fjordane Kunstmuseum, Norway

Isaac Grünewald
Fellow Artists
1909
oil on canvas
Prins Eugens Waldemarsudde, Stockholm

Willy Jaeckel
Family
1914
oil on canvas
Galerie Neue Meister (Albertinum), Dresden

Peder Severin Krøyer
The Artist (left) at Luncheon
with his wife Marie and writer Otto Benzon
1893
oil on canvas
Hirschsprung Collection, Copenhagen

Gari Melchers
The Family
ca. 1895-96
oil on canvas
Alte Nationalgalerie, Staatliche Museen zu Berlin

Johann August Nahl the Younger
Hector's Farewell
ca. 1814-16
oil on canvas (sketch)
Museumslandschaft Hessen Kassel

James Tissot
The Garden Bench
ca. 1883
mezzotint
High Museum of Art, Atlanta

Wallerant Vaillant
Portrait of a Woman with Three Children
ca. 1660
oil on canvas
Museum of Fine Arts, Budapest

Jan Woutersz
The Consultation
ca. 1630
oil on panel
Musée d'Art et d'Histoire de Genève

Of Thetis I sing, the golden-haired goddess,

Daughter of Nereus, the Lord of the Ocean,

Married to Peleus at mighty Zeus's wishing,

The star of the sea waves, our own Aphrodite.

The child of her womb was the noble Achilles,

Who fought like the War God and raged in the battle,

Where spear flashed like lightning, whose fame lives forever. 

Neoptolemos, the son Pyrrha bore him,

Death-dealer to Trojans but Greece's salvation,

Neoptolemos, we pray you, be gracious;

Showered with blessings in your tomb here in Delphi,

Smile and accept the offering we bring you.

From all tribulation deliver our city.

Of Thetis I sing, the golden-haired goddess.

– Heliodorus, from The Aethiopica, or, Theagenes and Charikleia (3rd or 4th century AD), translated from Greek by J.R. Morgan (1989)

Groups - III

Ansgar Larssen
Family Portrait
ca. 1950
oil on canvas
KODE (Art Museums Complex), Bergen, Norway

August Sander
Working Class Students
1926
gelatin silver print
Moderna Museet, Stockholm

Ludomir Śleńdziński
Group Portrait
1925
oil on canvas
Moderna Museet, Stockholm

Karl Klefisch and Günter Fröhling
Kraftwerk - Konzerthaus Elzer Hof
1981
lithograph (poster)
Röhsska Museet, Göteborg

Emil Schult and Pit Franke
Kraftwerk - Pocket Calculator
1981
lithograph (poster)
Röhsska Museet, Göteborg

Abraham van Diepenbeeck
The Four Doctors of the Church
ca. 1660
oil on panel
Musée des Beaux-Arts de Bordeaux

Peter Paul Rubens
The Four Evangelists
ca. 1614
oil on canvas
Bildgalerie von Sanssouci, Potsdam

Irving Penn
Dusek Brothers
1948
gelatin silver print
Moderna Museet, Stockholm

Gerhard Keil
Gymnasts
1939
oil on canvas
Galerie Neue Meister (Albertinum), Dresden

Christian Krohg
Studio at Ankertorvet
1885
oil on canvas
Lillehammer Kunstmuseum, Norway

Otto Dix
Portrait of Fritz and Erna Glaser
with children Agathe and Volkmar
1925
tempera and oil on panel
Galerie Neue Meister (Albertinum), Dresden

Julius Exner
Portrait of Jenny Raphael Adler with her daughters
1868
oil on canvas
Hirschsprung Collection, Copenhagen

Edgar Degas
The Bellelli Family
1858
pastel on paper
(study for painting)
Ordrupgaard Art Museum, Copenhagen

Thomas Gainsborough
The Marsham Children
1787
oil on canvas
Gemäldegalerie, Staatliche Museen zu Berlin

Leopold Kalckreuth
Children with Christmas Tree
ca. 1910
oil on canvas
National Museum, Warsaw

Nicolas de Largillière
The Artist with his Family
ca. 1704
oil on canvas
Kunsthalle Bremen

"At the head of the procession came the sacrificial animals, led on the halter by the men who were to perform the holy rites, countryfolk in country costume.  Each wore a white tunic, caught up to knee length by a belt.  Their right arms were bare to the shoulder and breast, and in their right hands they each brandished a double-headed axe.  Each and every one of the oxen was black: they carried their heads proudly on powerful necks that thickened to a hump of perfect proportions; their horns were flawlessly straight and pointed, on some gilded, on others wreathed with garlands of flowers; their legs were stocky, their dewlaps so deep that they brushed their knees.  There were exactly one hundred of them – a hecatomb in the true sense of the word.  Behind the oxen came a host of different sorts of beasts for the sacrifice, each kind separate and in its due place, while flute and pipe began a solemn melody as prelude to the sacred ceremony."

"After the animals and the cowherds came some Thessalian maidens, in beauteous raiment girdled deep, their hair streaming free.  They were divided into two companies: half – the first company – carried baskets full of flowers and fresh fruit, while the others bore wickerwork trays of sweetmeats and aromatics that breathed a sweet fragrance over the whole place.  They balanced their baskets on their heads, leaving their hands free to link arms in a formation of diagonal rows; thus they were able to dance and process simultaneously.   They were given the signal to begin by the second group launching into the introduction to the ode, for this group had been granted the privilege of singing the hymn through from beginning to end.  The hymn was in praise of Thetis and Peleus, and their son and finally their son's son."

– Heliodorus, from The Aethiopica, or, Theagenes and Charikleia (3rd or 4th century AD), translated from Greek by J.R. Morgan (1989)