Rudolf Eickemeyer - Evelyn Nesbit

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History, Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History, Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
ca. 1901
hand-colored photoprint
(postcard derived from platinum print)
Archives of American Art, Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

Rudolf Eickemeyer
Evelyn Nesbit
1901
platinum print
National Museum of American History,
Washington DC

from The Consolation of Philosophy

All men, throughout the peopled earth

    From one sublime beginning spring;

All from one source derive their birth

    The same their parent and their king.

At his command proud Titan glows,

    And Luna lifts her horn on high;

His hand this earth on man bestows,

    And strews with stars the spangled sky. 

From her high seats he drew the soul,

    And in this earthly cage confin'd;

To wond'ring worlds produc'd the whole,

    Essence divine with matter join'd. 

Since then alike all men derive

    From God himself their noble race,

Why should the witless mortals strive

    For vulgar ancestry and place?

Why boast their birth before his eyes,

    Who holds no human creature mean;

Save him whose soul enslav'd to Vice,

    Deserts her nobler origin?

– Boethius (AD 476-524), translated by Samuel Johnson and Hester Thrale (ca. 1765)

*lines in italics written by Mrs. Thrale

Alfred Cheney Johnston

Alfred Cheney Johnston
Fanny Brice
1918
platinum print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Statuesque Woman
ca. 1920
gelatin silver print
New Britain Museum of American Art, Connecticut

Alfred Cheney Johnston
Norma Shearer
ca. 1920
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Lillian Gish
1922
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Clara Bow
1923
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Raymond Hitchcock
ca. 1925
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Mrs Cornelius Vanderbilt
(Grace Graham Wilson)
ca. 1925
gelatin silver print
Chrysler Museum of Art, Norfolk, Virginia

Alfred Cheney Johnston
Ida Tarbell
ca. 1925
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Fredric March
ca. 1925
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Mary Pickford
ca. 1925
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Emily Post
ca. 1925
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Barbara Stanwyck
ca. 1927
gelatin silver print
Minneapolis Institute of Art

Alfred Cheney Johnston
Marjorie Merriweather Post
1929
gelatin silver print
National Portrait Gallery, Washington DC

Alfred Cheney Johnston
Dance Exhibition in Nightclub
ca. 1934
tricolor carbro print
Minneapolis Institute of Art

Alfred Cheney Johnston
Woman with Red Nails
ca. 1934
tricolor carbro print
Nelson-Atkins Museum of Art, Kansas City, Missouri

Alfred Cheney Johnston
Tyrone Power
ca. 1936
gelatin silver print
National Portrait Gallery, Washington DC

from The Amores

O! Love! how cold, and slow to take my part!
Thou idle Wanderer, about my Heart;
Why thy old faithfull Souldier wilt thou see
Opprest in thine own Tents? They Murder me:
Thy flames consume, thy Arrows pierce thy Friends,
Rather on foes pursue more Noble ends.
Achilles Sword wou'd generously bestow
A cure as certaine, as it gave the blow.
Hunters, who follow flying Game, give o'er
When the Prey's caught, hope still leads on before.
Wee thy owne Slaves feele thy Tyrannick blows,
While thy tame hand's unmov'd against thy Foes.
On Men disarm'd, how can you gallant prove?
And I was long ago disarm'd by Love.
Millions of dull Men live, and scornfull Maids,
We'll owne Love Valiant, when he these invades.
Rome, from each Corner of the wide World snatch'd,
A Lawrell; or't had beene to this day Thatch'd. 
But the old Souldier has his resting place,
And the good batter'd Horse is turnd to Grasse.
The Harrast Whore, who liv'd a Wretch to please
Has leave to be a Bawd, and take her ease.
For me then, who have freely spent my blood
(Love) in thy service, and soe boldly stood
In Celias Trenches; wer't not wisely done,
E'en to retire, and live at peace at home?
Noe, might I gaine a Godhead, to disclaime
My glorious Title to my endlesse flame,
Divinity with scorne I wou'd forsweare,
Such sweete, deare tempting Devills, Women are.

– Ovid (43 BC-AD 17), translated by John Wilmot, Earl of Rochester (before 1680)

Mucha

Alphonse Mucha
Textile Design - Bellflowers
ca. 1895
watercolor and ink on paper
National Gallery of Australia, Canberra

Alphonse Mucha
Textile Design - Honeysuckle and Hollyhocks
ca. 1897-98
watercolor and graphite on paper
Cooper-Hewitt Smithsonian Design Museum, New York

Alphonse Mucha (designer)
Textile Panel - Femme à Marguerite
ca. 1898-1900
screenprinted cotton
Art Institute of Chicago

Alphonse Mucha
Design for Biscuit Box
ca. 1897
lithograph
Cooper-Hewitt Smithsonian Design Museum, New York

Alphonse Mucha
Design for Biscuit Box
ca. 1897
lithograph
Cooper-Hewitt Smithsonian Design Museum, New York

Alphonse Mucha
Design for Biscuit Box
ca. 1897
lithograph
Cooper-Hewitt Smithsonian Design Museum, New York

Alphonse Mucha
Sarah Bernhardt in Gismonda
at Théâtre de la Renaissance
1894
lithograph (poster)
Wichita Art Museum, Kansas

Alphonse Mucha
Sarah Bernhardt in La Dame aux Camélias
at Théâtre de la Renaissance
1896
lithograph (poster)
Cooper-Hewitt Smithsonian Design Museum

Alphonse Mucha
Sarah Bernhardt in La Samaritaine
at Théâtre de la Renaissance
1897
lithograph (poster)
Art Institute of Chicago

Alphonse Mucha
Laurel
1902
lithograph
Chrysler Museum of Art, Norfolk, Virginia

Alphonse Mucha
Salomé
1897
lithograph
Minneapolis Institute of Art

Alphonse Mucha
L'Estampe Moderne
1898
lithograph (poster)
Delaware Art Museum, Wilmington

Alphonse Mucha
Leslie Carter
1908
lithograph (poster)
National Portrait Gallery, Washington DC

Alphonse Mucha
Exposition Universelle et Internationale de St Louis
1903
lithograph (poster)
Milwaukee Art Museum

Alphonse Mucha
The Seasons
1897
lithographs
Art Institute of Chicago

Alphonse Mucha
Summer
1902
lithograph
Chrysler Museum of Art Norfolk, Virginia

Alphonse Mucha
Monaco - Monte Carlo
Chemins de Fer P.L.M.
1897
lithograph (poster)
Detroit Institute of Arts

from The Art of Poetry

A Paynter if he shoulde adjoyne

    unto a womans heade

A longe maires necke, and overspred

    the corps in everye steade

With sondry feathers of straunge huie,

    the whole proportioned so

Without all good congruitye:

    the nether partes do goe

Into a fishe, on hye a freshe

    welfavord womans face:

My friends let in to see the sighte

    could you but laugh a pace?

– Horace (65-8 BC), translated by Thomas Drant (1567)

Avedon

Richard Avedon
Rudolf Nureyev
1961
contact sheet
National Museum of American History, Washington DC

Richard Avedon
Rudolf Nureyev
1961
gelatin silver print
National Museum of American History, Washington DC

Richard Avedon
Rudolf Nureyev
1961
gelatin silver print
National Portrait Gallery, Washington DC

Richard Avedon
Rudolf Nureyev
1961
gelatin silver print
National Museum of American History, Washington DC

Richard Avedon
Raymundo de Larrain and Jacqueline de Ribes
1961
gelatin silver print
National Museum of American History, Washington DC

Richard Avedon
Raymundo de Larrain
1961
gelatin silver print
National Museum of American History, Washington DC

Richard Avedon
Harper's Bazaar Cover, October 1962
1962
dye transfer print
National Museum of American History, Washington DC

Richard Avedon
Cheryl Crane, daughter of Lana Turner
1963
gelatin silver print
National Museum of American History, Washington DC

Richard Avedon
Ringo Starr
1965
gelatin silver print
National Museum of American History, Washington DC

Richard Avedon
Robert Rauschenberg and Alex Hay
1965
gelatin silver print
National Museum of American History, Washington DC

Richard Avedon
Dolores Guinness
1966
gelatin silver print
National Museum of American History, Washington DC

Richard Avedon
Maria Callas
1970
halftone poster
National Portrait Gallery, Washington DC

Richard Avedon
Cher
1975
dye transfer print
(commissioned by Time magazine)
National Portrait Gallery, Washington DC

Richard Avedon
Rose Kennedy
1976
gelatin silver print
National Portrait Gallery, Washington DC

Richard Avedon
Self Portrait
1978
dye transfer print
National Portrait Gallery, Washington DC

Richard Avedon
Barbra Streisand
1981
halftone poster
National Portrait Gallery, Washington DC

John Loengard
Richard Avedon
1994
gelatin silver print
National Portrait Gallery, Washington DC

from The Epistles

And yet if someone calls me 'wise' or 'fearless'
Must one protest? I like to be told I'm right,
And brilliant, as much as any other man.
The trouble is, the people who give out
The recognition, compliments, degrees
Can take them back tomorrow, if they choose;
The committee or electorate decide
You can't sit in the Senate, or have the Prize –
'Sorry, but isn't that ours, that you nearly took?'
What can I do, but sadly shuffle off?
If the same people scream that I'm a crook
Who'd strangle my father for money to buy a drink,
Should I turn white with pain and humiliation?
If prizes and insults from outside have much power
To hurt or give joy, something is sick inside.

– Horace (65-8 BC), translated by Robert Pinsky (1979)