Robert Bruce Inverarity

Robert Bruce Inverarity
Morris Graves and Malcolm Roberts
ca. 1936
tricolor carbro print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Morris Graves
1938
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Self Portrait
1938
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Carl Morris
1939
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Joe Knowles
ca. 1940
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Suzy Perit
ca. 1940
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Hilaire Hiler
1947
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Howard Warshaw
1947
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
James Fitzsimmons
1948
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Jane Inverarity
1948
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Helen Lundberg
1948
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Dorothea Tanning
1948
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Man Ray
1948
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Stanton Macdonald-Wright
1948
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
John Haley
1949
gelatin silver print
Archives of American Art, Washington DC

Robert Bruce Inverarity
Dorothy Royer
1949
gelatin silver print
Archives of American Art, Washington DC

Chorus from Thyestes

 
'Tis not wealth that makes a king,

Nor the purple's colouring,

Nor a brow that's bound with gold,

Nor gates on mighty hinges rolled.

The king is he, who void of fear,

Looks abroad with bosom clear;

Who can tread ambition down,

Nor be sway'd by smile or frown;

Nor for all the treasure cares,

That mine conceals, or harvest wears,

Or that golden sands deliver,

Bosom'd in a glassy river.

What shall move his placid might?

Not the headlong thunderlight,

Nor the storm that rushes out

To snatch the shivering waves about,

Nor all the shapes of slaughter's trade

With forward lance or fiery blade.

Safe, with wisdom on his crown,

He looks on all things calmly down,

He welcomes fate, when fate is near,

Nor taints his dying breath with fear.

– Seneca (4 BC-AD 65), translated by Leigh Hunt (1814)

Robert Indiana

Robert Indiana
The Eateria
1962
oil on canvas
Hirshhorn Museum, Washington DC

Robert Indiana
Beware-Danger American Dream #4
1963
oil on canvas
Hirshhorn Museum, Washington DC

Robert Indiana
The Figure Five
1963
oil on canvas
Smithsonian American Art Museum, Washington DC

Mary Swift
Studio of Robert Indiana
ca. 1970
gelatin silver print
Archives of American Art, Washington DC

Robert Indiana
Fire Bridge
1964-65
oil on canvas
Chrysler Museum of Art, Norfolk, Virginia

Robert Indiana
Love Greeting Card
1964
lithograph
Archives of American Art, Washington DC

Robert Indiana
Love
1967
screenprint
Smithsonian American Art Museum, Washington DC

Robert Indiana
Love Tabletop Sculpture
1967
aluminum
Hirshhorn Museum, Washington DC

Robert Indiana
Love Ring
ca. 1972
gilt metal
(manufactured by Charles Revson, Inc.)
Cooper-Hewitt Smithsonian Design Museum, New York

Robert Indiana
Love Ring in 18K Gold
ca. 1972
inventory page
(from Eva Lee Gallery, New York)
Archives of American Art, Washington DC

Robert Indiana
Love
1973
screenprint
Smithsonian American Art Museum, Washington DC

Robert Indiana
Love Stamp (8 cents)
1973
offset-print with adhesive back
National Postal Museum, Washington DC

Robert Indiana
Kunst Markt Köln
1967
lithograph (exhibition poster)
Cooper-Hewitt Smithsonian Design Museum, New York

Robert Indiana
Number Paintings - Museum Haus Lange, Krefeld
1966
lithograph (exhibition poster)
Cooper-Hewitt Smithsonian Design Museum, New York

Robert Indiana
New York City Center 25th Anniversary
1968
screenprint
Hirshhorn Museum, Washington DC

Robert Indiana
Hirshhorn Opening Exhibition
1974
offset-print (poster)
Hirshhorn Museum, Washington DC

Robert Indiana
Five
1984
partly painted wood and found wheels
Smithsonian American Art Museum, Washington DC

"I don't like Americans or America. I'm getting old and only have a certain amount of time and I don't want to waste a day in a place where I would be miserable."

"Is your dislike of Americans based on anything that happened in your childhood?"

"How ridiculous. I didn't even know America existed before the war."

"So you started hating them when the war came?"

"Yes, I'll never forget what a bore it as when they joined the war. We were having a wonderful time and they came along and spoiled our finest hour."

– Nancy Mitford, from an interview with Art Buchwald in the New York Herald Tribune, April 1957

O'Keeffe at Home

John Loengard
Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
On the Roof, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
At Table, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
With book by Leonard Baskin, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Rattles of Rattlesnakes, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Pelvis, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Remains, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Cow Skull, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Antler, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Studio Workbench, Ghost Ranch 
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Brushes, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Easel, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Work in Progress, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Bird Nest, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Abiquiu
1966
gelatin silver print
National Portrait Gallery, Washington DC

John Loengard
Books, Ghost Ranch
1966
gelatin silver print
National Portrait Gallery, Washington DC

Homer the Fount

Being blind and indigent; having lived before ever the Sciences were redacted into strict rules and certaine observations, hee had so perfect knowledge of them, that all those which since his time have labored to establish Policies or Common-wealths, to manage warres, and to write either of Religion or Philosophie, in what Sect soever or of all Artes, have made use of him, as of an absolutely-perfect Maister in the knowledge of all things; and of his Bookes, as of a Seminarie, a Spring-garden or Store-house of all kinds of sufficiency and learning.

                From whose large mouth for verse all that since live

                Drew water, and grew bolder to derive

                Into thinne shallow rivers his deepe floods:

                Richly Luxuriant in one mans goods.

– Manilius (1st century AD), translated by John Florio and Matthew Gwinne (1603)