Derived

Piet Ouborg
Bright and Black Shining
1952
oil on canvas
Buffalo AKG Art Museum, New York

Louise Bourgeois
Untitled
1952
painted wood and plaster
National Gallery of Art, Washington DC

Raoul Dufy
Music and the Pink Violin
1952
oil on canvas
National Gallery of Art, Washington DC

Charlotte Perriand for Ateliers Jean Prouvé
Maison de la Tunisie Bench-Bookshelf
1952
lacquered steel, aluminum and pine
Museum of Modern Art, New York

Henri Matisse
Memory of Oceania
1952
painted paper collage on canvas
Museum of Modern Art, New York

Jackson Pollock
No. 6
1952
oil and enamel on canvas
Nelson-Atkins Museum of Art, Kansas City, Missouri

Grace Hartigan
The Persian Jacket
1952
oil on canvas
Museum of Modern Art, New York

Robert Rauschenberg
Postcard Self Portrait - Black Mountain (II)
1952
gelatin silver print
San Francisco Museum of Modern Art

François Morellet
Cercles et demi-cercles
1952
oil on panel
Buffalo AKG Art Museum, New York

Robert Motherwell
Castile (España)
1952
oil on panel
Carnegie Museum of Art, Pittsburgh

Barbara Hepworth
Head (Elegy)
1952
wood and string
Hirshhorn Museum, Washington DC

William Heick
Hats
1952
gelatin silver print
San Francisco Museum of Modern Art

Ben Nicholson
June 4 52 (tableform)
1952
oil on canvas
Buffalo AKG Art Museum, New York

Fernand Léger
Untitled
1952
glazed terracotta relief mounted on wood
Buffalo AKG Art Museum, New York

René Magritte
Les Valeurs Personnelles
1952
oil on canvas
San Francisco Museum of Modern Art

Ad Reinhardt
Abstract Painting (Red)
1952
oil on canvas
Museum of Modern Art, New York

Ellsworth Kelly
Fête à Torcy
1952
oil on canvas
Museum of Modern Art, New York

from Marvel of Marvels

O saints, my beloved, now mouldering to mould in the mould,

Shall I see you lift your heads, see your cerements unrolled,

See with these very eyes? who now in darkness and cold

Tremble for the midnight cry, the rapture, the tale untold . . .

– Christina Rossetti (1830-1894)

Litho - IV

Anonymous German Artist
No. 4711 Face Powder
ca. 1905
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Moriz Jung
Plastische Posen
c. 1905-1915
lithograph
(postcard produced by Wiener Werkstätte)
Graphische Sammlung Albertina, Vienna

Maximilian Liebenwein
Pallas Athena
1906
lithograph
Graphische Sammlung Albertina, Vienna

Leopoldo Metlicovitz
Opening of the Simplon Tunnel
1906
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Julius Klinger
Lustige Blätter (magazine)
1909
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Hans Günther Reinstein
Mozart Pianos
1909
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Anonymous Austrian Artist
Veteran Artists of the Chat Noir, Paris -
Three Performances at Saal Ehrbar, Vienna
1910
lithograph (poster)
Graphische-Sammlung-Albertina-Vienna

Hans Rudi Erdt
Die Woche (magazine)
1910
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Géza Faragó
Digestol Glück
1910
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Hollerbaum & Schmidt (printers)
Hohlfeld Roller
(ledger-supporting platform on wheels)
ca. 1910
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Rudolf Kalvach
Inspiration
ca. 1910
lithograph
(postcard produced by Wiener Werkstätte)
Graphische Sammlung Albertina, Vienna

Aristide Maillol
Juno
ca. 1910
lithograph
High Museum of Art, Atlanta

Emil Ranzenhofer
Cig Shoe-Polish Stick
1910
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Oskar Kokoschka
Der Sturm (magazine)
1911
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Ewald Dülberg
Aida - Hamburger Stadt Theater
1912
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Egon Schiele
Self Portrait
1912
lithograph
Städtisches Museum, Braunschweig

But the Athenians stirred not from Aegina; but those that remained at Athens, both young and old, under the conduct of Myronides went to Megara; and after they had fought with doubtful victory, they parted asunder again with an opinion on both sides not to have had the worse in the action.  And the Athenians, who notwithstanding had rather the better, when the Corinthians were gone away erected a trophy.  But the Corinthians, having been reviled at their return by the ancient men of the city, about twelve days after came again prepared and set up their trophy likewise, as if the victory had been theirs.  Hereupon the Athenians sallying out of Megara with a huge shout both slew those that were setting up the trophy and, charging the rest, got the victory.

The Corinthians, being overcome, went their way; but a good part of them, being hard followed and missing their way, lighted into the enclosed ground of a private man, which fenced with a great ditch had no passage through.  Which the Athenians perceiving, opposed them at the place by which they entered with their men of arms and, encompassing the ground with their light armed soldiers, killed those that were entered with stones.  This was a great loss to the Corinthians, but the rest of their army got 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)

Litho - I

Karl Friedrich Schinkel
Gothic Church concealed by Tree
1810
lithograph
Kupferstichkabinett,
Staatliche Kunstsammlungen, Dresden

Achille Parboni
Ruins of Trajan's Market, Rome
ca. 1820
lithograph
Max Planck Institute for Art History, Florence

Jacob Wilhelm Christian Roux
after Friedrich Tiedemann
Inner Thoracic Arteries
1822
lithograph (book illustration)
Universitätsbibliothek Heidelberg

Lorenzo Bianchi and Domenico Cuciniello
Contadina di Terranova
ca. 1825
lithograph
Graphische Sammlung, ETH Zürich

Anonymous French Artist
Alexandra Feodorovna, Empress of Russia
ca. 1826
lithograph
Staatliche Graphische Sammlung, Munich

Carl Boetticher
Textile Pattern
(velvet chasuble from Brandenburg Cathedral)
ca. 1830-35
lithograph
Kupferstichkabinett, Staatliche Museen zu Berlin

Anonymous German Artist
Clock-maker's Workshop in Dresden
ca. 1835
lithograph
Kupferstichkabinett, Staatliche Kunstsammlungen, Dresden

Grobon Frères
(François-Frédéric and Anthelme-Eugène)
Pears
ca. 1850-60
lithograph
Museum für Angewandte Kunst, Vienna

Joséphine Ducollet
Head of Napoleon
ca. 1870
lithograph
Kupferstichkabinett,
Kunstsammlungen der Veste Coburg

Léonce Schérer
Souvenirs de La Commune
ca. 1872
lithograph
Universitätsbibliothek Heidelberg

Rodolphe Bresdin
The Distant City
1873
lithograph
Rhode Island School of Design, Providence

Anonymous Italian Makers
Six Views of Florence
ca. 1875
lithographic postcards
Max Planck Institute for Art History, Florence

Hans Thoma
Allegory of Lithography
ca. 1880
drawing (print study)
Städel Museum, Frankfurt

Georges Meunier
Otard Dupuis & Co. - Cognac
1890
lithograph (poster)
Graphische Sammlung Albertina, Vienna

Fritz Rehm
Multiplex Gasfernzünder
ca. 1890-95
lithograph (poster)
Kunstbibliothek, Staatliche Museen zu Berlin

Henri de Toulouse-Lautrec
Le Matin (magazine)
1893
lithograph (poster)
Museum Folkwang, Essen

When the Athenians had thus gotten the command by the confederates' own accord for the hatred they bare to Pausanias, they then set down an order which cities should contribute money for this war against the barbarians, and which galleys.  For they pretended to repair the injuries they had suffered by laying waste the territories of the king.  And then first came up amongst the Athenians the office of treasurers of Greece, who were receivers of the tribute, for so they called this money contributed.  And the first tribute that was raised came to four hundred and sixty talents.  The treasury was at Delos, and their meetings were kept there in the temple. 

                                              *                          *                        *

Amongst other causes of revolts the principal was their failing to bring in their tribute and galleys and their refusing (when they did so) to follow the wars.  For the Athenians exacted strictly and were grievous to them by imposing a necessity of toil which they were neither accustomed nor willing to undergo.  They were also otherwise not so gentle in their government as they had been, nor followed the war upon equal terms, and could easily bring back to their subjection such as should revolt.  And of this the confederates themselves were the causes.  For through this refusal to accompany the army the most of them, to the end they might stay at home, were ordered to excuse their galleys with money, as much as it came to, by which means the navy of the Athenians was increased at the cost of the confederates, and themselves unprovided and without means to make war in case they should revolt. 

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

Untitled

Jay van Everen
Untitled
ca. 1920
hand-colored stencil print
Smithsonian American Art Museum, Washington DC

Oskar Fischinger
Untitled
1942
oil on canvas
Guggenheim Museum, New York

Elaine De Kooning
Untitled
ca. 1947
drawing
Whitney Museum of American Art, New York

Herbert Ferber
Untitled
1950
drawing
Whitney Museum of American Art, New York

Beauford Delaney
Untitled
1950
pastel on paper
Whitney Museum of American Art, New York

Burhan Dogançay
Untitled
1969
lithograph
Amon Carter Museum, Fort Worth, Texas

Margaret Ponce Israel
Untitled
ca. 1970
pastel on paper
Racine Art Museum, Wisconsin

Menashe Kadishman
Untitled
1970
screenprint
Hirshhorn Museum, Washington DC

Nancy Drosd
Untitled
1971
lithograph
Cooper Hewitt, Smithsonian Design Museum

León Ferrari
Untitled
1976
drawing
Art Institute of Chicago

Geoffrey Legge
Untitled
1976
collage and gouache on postcard
National Gallery of Australia, Canberra

Larry Fink
Untitled
1980
gelatin silver print
Smithsonian American Art Museum, Washington DC

Elisabeth Kruger
Untitled
1987
lithograph
National Gallery of Australia, Canberra

Laura Owens
Untitled
1997
acrylic and modeling paste on canvas
Whitney Museum of American Art, New York

Chris Dorland
Untitled
2006
mixed media on paper
Whitney Museum of American Art, New York

Michel Delgado
Untitled
2019
oil and enamel on panel
NSU Art Museum, Fort Lauderdale, Florida

Ralph Lemon
Untitled
2021
oil and acrylic on paper
Whitney Museum of American Art, New York

First Death in Nova Scotia

In the cold, cold parlor

my mother laid out Arthur

beneath the chromographs:

Edward, Prince of Wales,

with Princess Alexandra,

and King George with Queen Mary.

Below them on the table 

stood a stuffed loon

shot and stuffed by Uncle

Arthur, Arthur's father.

Since Uncle Arthur fired

a bullet into him,

he hadn't said a word.

He kept his own counsel

on his white, frozen lake,

the marble-topped table.

His breast was deep and white,

cold and caressable;

his eyes were red glass,

much to be desired.

"Come," said my mother,

"Come and say good-bye

to your little cousin Arthur."

I was lifted up and given

one lily of the valley

to put in Arthur's hand.

Arthur's coffin was

a little frosted cake,

and the red-eyed loon eyed it

from his white, frozen lake.

Arthur was very small.

He was all white, like a doll

that hadn't been painted yet.

Jack Frost had started to paint him

the way he always painted

the Maple Leaf (Forever).

He had just begun on his hair,

a few red strokes, and then

Jack Frost had dropped his brush

and left him white forever.

The gracious royal couples

were warm in red and ermine;

their feet were well wrapped up

in the ladies' ermine trains.

They invited Arthur to be

the smallest page at court.

But how could Arthur go,

clutching his tiny lily,

with his eyes shut up so tight

and the roads deep in snow?

– Elizabeth Bishop (1965)