Lavish

Peter Paul Rubens and Frans Snyders
Crowning of Diana
1620
oil on canvas
Bildgalerie von Sanssouci, Potsdam

Antonio Joli
Masque Design for Barque of Diana the Huntress
1740
watercolor on paper
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

Gustav Klimt
Fulfillment
1911
mixed media on paper
(study for mosaic frieze)
Museum für Angewandte Kunst, Vienna

Filippo Vasconi
Festival Edifice in Piazza di Spagna, Rome
1728
etching
Kupferstichkabinett. Staatliche Kunstsammlungen, Dresden

Joseph Heintz the Elder
Coronation of the Virgin
1602
oil on canvas (altarpiece)
Liechtenstein Museum, Vienna

Jan Brueghel the Younger
The Triumph of Death
ca. 1620
oil on canvas
Liechtenstein Museum, Vienna

Georg Lemberger
The Whore of Babylon
1524
hand-colored woodcut
(illustration to the "Luther" Bible)
Graphische Sammlung Albertina, Vienna

François de Troy
Feast of Dido and Aeneas
(portrait historié of the duc du Maine and his family)
1704
oil on canvas
Musée d'Île de France, Château de Sceaux

Johann Georg Platzer
Fête Galante
1736
oil on copper
Liechtenstein Museum, Vienna

Johann Heinrich Schönfeld
Triumph of Venus
ca. 1640-45
oil on canvas
Gemäldegalerie, Staatliche Museen zu Berlin

Frans Francken the Younger
Allegory of Opportunity
1628
oil on panel
Musée d'Art et d'Archéologie du Périgord

Jean Jouvenet
Christ in the House of Simon the Pharisee
ca. 1706
oil on canvas
Musée des Beaux-Arts de Lyon

Cornelis de Baellieur
A Collector's Gallery
ca. 1640
oil on panel
Liechtenstein Museum, Vienna

Ferdinand Georg Waldmüller
Red and White Grapes
1841
oil on panel
Liechtenstein Museum, Vienna

Theude Grønland
Floral Piece with Putti
1858
oil on canvas
Nasjonalmuseet, Oslo

Dora Dolz
Pink Vase with Flowers
1997
glass
Museum de Fundatie, Zwolle, Netherlands

In this manner spake the Mytilenaeans.  And the Lacedaemonians and their confederates, when they had heard and allowed their reasons, decreed not only a league with the Lesbians but also again to make an invasion into Attica.  And to that purpose the Lacedaemonians appointed their confederates there present to make as much speed as they could with two parts of their forces into the isthmus; and they themselves being first there prepared engines in the isthmus for the drawing up of galleys, with intention to carry the navy from Corinth to the other sea that lieth towards Athens, and to set upon them both by sea and land.  And these things diligently did they.  But the rest of the confederates assembled but slowly, being busied in the gathering in of their fruits and weary of warfare.

The Athenians, perceiving all this preparation to be made upon an opinion of their weakness and desirous to let them see they were deceived as being able, without stirring the fleet at Lesbos, easily to master the fleet that should come against them out of Peloponnesus, manned out a hundred galleys and embarked therein generally, both citizens (except those of the degree of Pentacosiomedimni and Horsemen) and also strangers that dwelt amongst them, and sailing to the isthmus made a show of their strength and landed their soldiers in such parts of Peloponnesus as they thought fit.  When the Lacedaemonians saw things so contrary to their expectations, they thought it false which was spoken by the Lesbian ambassadors, and esteeming the action difficult, seeing their confederates were not arrived and that news was brought of the wasting of the territory near their city by the thirty galleys formerly sent about Peloponnesus by the Athenians, went home again . . .

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

Interior Dispositions

Willem van Haecht the Younger
Salon of Archduchess Isabella of Austria in Brussels
1621
oil on panel
Norton Museum of Art, West Palm Beach, Florida

Pieter de Hooch
Card Players in a Sunlit Room
1658
oil on canvas
Royal Collection, Great Britain

Abraham van Strij
Interior with Woman and Child
ca. 1790
oil on canvas
Dordrechts Museum, Netherlands

Luigi Bazzani
Roman Interior
ca. 1880
oil on panel
Auckland Art Gallery, New Zealand

Frederick Goodall
Puritan and Cavalier
1886
oil on canvas
Walker Art Gallery, Liverpool

Hugo Salmson
Visiting the Tenant Farmer
ca. 1886
oil on canvas
Museum of Fine Arts, Ghent

George Morren
Sunday Afternoon
1892
oil on canvas
Indianapolis Museum of Art

Carl Roll Røstvig
Breakfast
ca. 1910-15
oil on canvas
Stavanger Kunstmuseum, Norway

Edward Hopper
Eleven A.M.
1926
oil on canvas
Hirshhorn Museum, Washington DC

John Koch
Portrait of Dora in Interior
ca. 1957
oil on canvas
Whitney Museum of American Art, New York

O. Winston Link
Living Room on the Tracks, Lithia, Virginia
1958
gelatin silver print
Smithsonian American Art Museum, Washington DC

Hans Namuth
Leonard Baskin
1964
gelatin silver print
National Portrait Gallery, Washington DC

Jon Stroup
The Gardener
1979
oil on canvas
Smithsonian American Art Museum, Washington DC

Daniel Sprick
Modern Consciousness
1989
oil on canvas
Smithsonian American Art Museum, Washington DC

Larry Sultan
Kitchen Window, Topanga Canyon
1999
 C-print
Whitney Museum of American Art, New York

Gregory Crewdson
Untitled
2001-2002
C-print
Guggenheim Museum, New York

Andrew Raftery
Open House, Dutch Colonial
2002
lithograph
Smithsonian American Art Museum, Washington DC

from Argonautica

    Now wrought the mystic charm, with potent sway.
Entranc'd, dissolv'd the dreadful monster lay,
With spine relax'd, extended o'er the plain,
In orbs diffuse uncoil'd his scaly train.
When breezes fill th' expansive sail no more,
And not a wave is heard to lash the shore,
In placid silence, thus the billows sleep;
And languid curls are spread along the deep.
Yet, still aloft his horrid head he rear'd;
And still in act to close his jaws appear'd;
With dreadful menace – But the numph display'd
A mystic bough, cut from the sacred shade,
A branch of juniper in drugs bedew'd,
With potency by magic spell imbued.
Melodious charm her tuneful voice applies;
She waves her opiate o'er the monster's eyes.
Diffus'd around narcotic vapour flows;
The dragon sinks subdued, in deep repose,
Unmoving, harmless, as the silent dead;
His gaping jaws were fix'd; he hung his head;
And spreading like some vast meand'ring flood,
His powerless volumes stretch'd along the wood.
Exhorted by the maid, without delay,
The youth approach'd the tree, to seise the prey;
While, near the dragon fix'd, th' intrepid maid
O'er his dire head the flattering unction laid.
She waited thus, unmov'd, and unapppall'd,
Till to the ship the youth her steps recall'd,
When now departing from the sacred grove,
He gave the sign of safety, and of love.

– Apollonius Rhodius (ca. 295-215 BC), translated by William Preston (1803)

Interior Dispositions

Samuel van Hoogstraten
View through a House
(Samuel Pepys saw and described this painting)
1662
oil on canvas
National Trust, Dyrham Park, Gloucestershire

George Pyne
Room of George James Drummond at Oxford
1853
watercolor and gouache on paper
Cooper Hewitt, Smithsonian Design Museum

Titian Ramsay Peale
Music Room of Apartment in the Smithsonian for its Secretary
1862
albumen print
Smithsonian Archives, Washington DC

Franz Alt
Salon in Vienna
1872
watercolor and gouache on paper
Cooper Hewitt, Smithsonian Design Museum

Frederic Shields
William Blake's Workroom and Deathroom
ca. 1880
watercolor on paper
Delaware Art Museum, Wilmington

Gustaf Cederström
Schoolroom
1889
oil on canvas
Prins Eugens Waldemarsudde, Stockholm

David Milne
Icebox and Kitchen Shelves
1919
watercolor on paper
Museum London, Ontario

Alexandre Benois
Study of Czar Alexander II, Gatchina Palace, Saint Petersburg
ca. 1920-30
watercolor and gouache on paper
Cooper Hewitt, Smithsonian Design Museum

Stella Bowen
Paris Interior
1931
watercolor on board
Art Gallery of South Australia, Adelaide

Beauford Delaney
Untitled
1948
oil on canvas
Whitney Museum of American Art, New York

Rudy Burckhardt
Helen Frankenthaler's first show at André Emmerich Gallery, New York
1959
gelatin silver print
Archives of American Art, Washington DC

Wayne Sorce
Untitled
ca. 1975
C-print
Art Institute of Chicago

Joanne Leonard
Manuel Neri's Kitchen
ca. 1980
gelatin silver print
Portland Museum of Art, Maine

Larry Sultan
Child's Room, Mulholland Drive
2001
C-print
Whitney Museum of American Art, New York

Angela Lorenz
Anatomical Theater, Bologna
2010
ink on paper
Smithsonian American Art Museum, Washington DC

Dale Kennington
Books and Business
2011
oil on canvas
Smithsonian American Art Museum, Washington DC

Jonas Wood
Inglewood Listing
2019
oil and acrylic on canvas
Whitney Museum of American Art, New York

On Pallas Bathing, from a Hymn of Callimachus

Nor oils of balmy scent produce,

Nor mirror for Minerva's use

Ye nymphs who love her! she array'd

In genuine beauty, scorns their aid.

Not even when they left the skies

To seek on Ida's head the prize

From Paris' hand, did Juno deign,

Or Pallas in the chrystal plain

Of Simois' stream her locks to trace,

Or in the mirror's polish'd face,

Though Venus oft with anxious care

Adjusted twice a single hair.

– Callimachus (ca. 300-240 BC), translated by William Cowper (1799)