Full Spectrum - III

Bacchiacca (Francesco Ubertini)
Story of Joseph Arrest of Joseph's Brothers
1515
oil on panel
Galleria Borghese, Rome

Joseph Bergler
Samson captured by the Philistines
1784
oil on canvas
Galleria Nazionale di Parma

Martin Brandenburg
In the Evening
ca. 1915
pastel on paper
Alte Nationalgalerie, Staatliche Museen zu Berlin

Denys Calvaert
Rest on the Flight into Egypt
caa. 1590-1600
oil on copper
National Museum, Warsaw

Jim Dine
Roman Color Chart
1968
oil on canvas
Museum Ludwig, Cologne

El Greco
Disrobing of Christ
ca. 1577-79
oil on canvas
(altarpiece)
Catedral de Santa Maria de Toledo

Auguste Herbin
Port of Bastia
1907
oil on canvas
Hamburger Kunsthalle

Jörg Immendorff
Lehmbruck Saga
1987
oil on canvas
Museum Ludwig, Cologne

Jasper Johns
Edingsville
1965
oil on canvas, with found objects
Museum Ludwig, Cologne

Wassily Kandinsky
Murnau
1908
oil on cardboard
Dallas Museum of Art

Wilhelm Lachnit
Child reading in the Studio
1949
oil on canvas
Galerie Neue Meister (Albertinum), Dresden

Henri Matisse
Luxe, Calme et Volupté
1904
oil on canvas
Musée d'Orsay, Paris

Morgan Russell
Synchronie en orange
1913-14
oil on canvas
Albright-Knox Art Gallery, Buffalo, New York

Paul Signac
The Gate, Saint-Tropez
ca. 1895
oil on canvas
Romanian National Museum of Art, Bucharest

Jehan Georges Vibert
Woman in Turkish Interior
ca. 1880
watercolor and gouache on paper
Cincinnati Art Museum, Ohio

Marianne von Werefkin
Windstorm
ca. 1915-16
oil on canvas
Graphische Sammlung Albertina, Vienna

When she had (as long as her impatient desires would permit her) beheld the chast Goddesse, she went to her bed againe, taking a little Cabinet with her, wherein she had many papers, and setting a light by her, she took pen and paper, and being excellent in writing, writ these verses following:

Heart drops distilling like a new-cut vine

Weepe for the paines that doe my soule oppresse,

                    Eyes doe no lesse

          For if you weepe not, be not mine,

          Silly woes that cannot twine

                    An equall griefe in such excesse.

You first in sorrow did begin the act,

You saw and were the instruments of woe,

                    To let me know

          That parting would procure the fact

          Wherewith young hopes in bud are wrackt,

                    Yet deerer eyes the rock must show.

Which never weepe, but killingly disclose

Plagues, famine, murder in the fullest store,

                    But threaten more.

          This knowledge cloyes my brest with woes

          T'avoid offence my heart still chose

                    Yet faild, and pity doth implore.

When reading them over againe; "Fie passion," said she, "how foolish canst thou make us? and when with much paine and businesse thou hast gain'd us, how dost thou then dispose us unto folly, making our choicest wits testimonies to our faces of our weakenesses, and, as at this time, dost bring my owne hands to witnesse against me, unblushingly showing my idleness to mee."

– from The Countesse of Mountgomeries Urania, by the right honourable the Lady Mary Wroath, daughter to the right noble Robert, Earle of Leicester, and neece to the ever famous and renowned Sʳ Phillips Sidney knight, and to ye most excellant Lady Mary Countess of Pembroke, late deceased (London: John Marriott and John Grismand, 1621)

Full Spectrum - II

Nikolai Astrup
Still Life
1925
oil on canvas
KODE (Art Museums Complex), Bergen, Norway

Åke Berg
Loshavn
1998
lithograph
KORO (Public Art Norway), Oslo

Pierre Bonnard
View from Uhlenhorst Ferry House
1913
oil on canvas
Carnegie Museum of Art, Pittsburgh

Per Christian Brown
Material Colors II
2015
C-print
KORO (Public Art Norway), Oslo

Sonia Delaunay
Color Rhythm
1968
oil on canvas
Museum Ludwig, Cologne

Jan van Doornik
Marriage of the Virgin
ca. 1515-20
oil on panel
Saint Louis Art Museum

Josef Hegenbarth
In the Parrot House
ca. 1928
oil on board
Galerie Neue Meister (Albertinum), Dresden

Cornelis van Huynen
Portrait of a Woman within a Garland
ca. 1685
oil on canvas
National Museum, Warsaw

Rune Johansen
Boathouse
2014
C-print
KORO (Public Art Norway), Oslo

Wassily Kandinsky
Interior (My Dining Room)
1909
oil on cardboard
Lenbachhaus, Munich

Emmy Klinker
Interior
ca. 1920
oil on canvas
Von der Heydt Museum, Wuppertal

August Macke
In the Circus
1911
oil on glass, in original frame
Lenbachhaus, Munich

Neo Rauch
The Gap
2007
oil on canvas
Hamburger Kunsthalle

Franz Wilhelm Seiwert
Workers
1926
oil on canvas
Museum Ludwig, Cologne

Sigrid Szetu
Untitled
2014
acrylic on canvas
KORO (Public Art Norway), Oslo

Charles Francis Annesley Voysey (designer)
Snake amongst Flowers
ca. 1895
silk embroidery on linen
Huntington Library and Art Museum,
San Marino, California

Urania then looked up, hearing humane voices, which she so little expected, as onely death was that she looked for: but then perceived she two young men, whose age might bee judged to bee some seventeene yeares; faces of that sweetnesse, as Venus love could but compare with them, their haire which never had been cut, hung long, yet longer much it must have been, had not the daintie naturall curling somewhat shortned it, which as the wind mov'd, the curles so pretily plaid, as the Sunne-beames in the water; their apparell Goates skinnes cut into no fashion, but made fast about them in that sort, as one might see by their sight they were wild; yet that wildness was govern'd by modesty, their skinne most barre, as armes and legs, and one shoulder, with part of their thighes; but so white was their skinne, as seem'd the Sunne in love with it, would not hurt, nor the bushes so much as scratch; on their feete they had a kind of shooes, which came up to the anckle.  Thus they were before the Prime of Shepherdesses, who comming to them, and saluting them, they stept back in wonder to see that beautie, which yet in the masculine they came nerre to . . .

– from The Countesse of Mountgomeries Urania, by the right honourable the Lady Mary Wroath, daughter to the right noble Robert, Earle of Leicester, and neece to the ever famous and renowned Sʳ Phillips Sidney knight, and to ye most excellant Lady Mary Countess of Pembroke, late deceased (London: John Marriott and John Grismand, 1621)

Full Spectrum - I

Natasja Askelund
Terror Duck
2013
oil on canvas
Stavanger Kunstmuseum, Norway

Benvenuto di Giovanni
Risen Christ
ca. 1491
tempera on panel
(predella fragment)
National Gallery of Art, Washington DC

Herri met de Bles
Landscape with Lot and his Daughters before flaming Sodom
ca. 1530-40
oil on panel
National Museum, Warsaw

Peter Brawne
The Last Resort
Photographs of New Brighton by Martin Parr
1986
exhibition poster
Museum Folkwang, Essen

Bernardo Daddi
Reunion of the Body of St Stephen
with that of St Lawrence in Rome
ca. 1345
tempera on panel
(predella fragment)
Pinacoteca Vaticana, Rome

Otto Dix
Longing (Self Portrait)
1918-19
oil on canvas
Galerie Neue Meister (Albertinum), Dresden

Maurice Freedman
Pink Waterfall
1955
oil on canvas
Carnegie Museum of Art, Pittsburgh

John Roger Holte and Irene Nordli
One More Day and Everything will be Fine
2006
installation with porcelain sculpture and silk flowers
KORO (Public Art Norway), Oslo

Alexei von Jawlensky
Corn Field at Carantec
1905
oil on cardboard
Graphische Sammlung Albertina, Vienna

Asger Jorn
In the Beginning was the Image
1965
oil on canvas
Statens Museum for Kunst, Copenhagen

Paul Klee
Remembrance Sheet to a Conception
1918
watercolor and gouache on paper
Norton Simon Museum, Pasadena

François Lepage
Flowers in a Vase with Two Doves
ca. 1815-20
oil on canvas
Dallas Museum of Art

Hendrik Pot
Merry Company in a Brothel
ca. 1630
oil on panel
Mauritshuis, The Hague

Arthur Segal
Houses, Meadows and Fields
1918
oil on canvas
Galerie Neue Meister (Albertinum), Dresden

Thorbjørn Sørensen
A
1999
acrylic on panel
Nasjonalmuseet, Oslo

Cornelius Völker
Hands
2003
oil on canvas
Von der Heydt Museum, Wuppertal

Perissus gone, Urania for that night drave her flock homeward, giving a kind looke unto the rocke as she returnd, promising often to visit it for brave Perissus sake, and to make it her retiring place, there to passe some of her melancholy howres in.  The next morning as soone as light did appeare, or she could see light (which sooner she might doe then any, her eyes making day, before day else was seene) with her flocke she betooke her selfe to the meadow, where she thought to have met some of her companions, but being early, her thought having kept more carefull watch over her eies, thought it selfe growne peremptorie with such authority.  She found none come, wherefore leaving the flocke to the charge of a young Lad of hers, tooke her way towards the rocke, her mind faster going then her feete, busied still, like one holding the Compasse, when he makes a circle, turnes it round in his owne center: so did shee, her thoughts incircled in the ignorance of her being.  

– from The Countesse of Mountgomeries Urania, by the right honourable the Lady Mary Wroath, daughter to the right noble Robert, Earle of Leicester, and neece to the ever famous and renowned Sʳ Phillips Sidney knight, and to ye most excellant Lady Mary Countess of Pembroke, late deceased (London: John Marriott and John Grismand, 1621)