Rest

Quinten Metsys
Rest on the Flight into Egypt
ca. 1510
oil on panel
Worcester Art Museum, Worcester, Massachusetts

Anonymous Netherlandish Artist
Rest on the Flight into Egypt
ca. 1550-1600
oil on panel
Museum De Lakenhal, Leiden

Luca Cambiaso
Rest on the Flight into Egypt
ca. 1560
drawing
Musée des Beaux-Arts de Lyon

Camillo Procaccini
Rest on the Flight into Egypt
ca. 1583
etching
Graphische Sammlung, ETH Zürich

Hans Rottenhammer
Rest on the Flight into Egypt
ca. 1595-97
oil on copper
Alte Pinakothek, Munich

Jan Brueghel the Elder and workshop
Rest on the Flight into Egypt
ca. 1600
oil on panel
Alte Pinakothek, Munich

Francesco Albani
Rest on the Flight into Egypt
ca. 1604
oil on panel
Princeton University Art Museum

Simone Cantarini (il Pesarese)
Rest on the Flight into Egypt
ca. 1630-40
engraving
Graphische Sammlung, ETH Zürich

Simon Vouet
Rest on the Flight into Egypt
ca. 1638-39
oil on canvas
Musée de Grenoble

Claude Lorrain
Rest on the Flight into Egypt
ca. 1640
oil on canvas
Joslyn Art Museum, Omaha

Francesco Albani
Rest on the Flight into Egypt
ca. 1640
oil on canvas
Národní Galerie, Prague

Pier Francesco Mola
Rest on the Flight into Egypt
ca. 1660
drawing
Kupferstichkabinett, Staatliche Museen zu Berlin

Antonio Domenico Triva
Rest on the Flight into Egypt
ca. 1675
etching
Hamburger Kunsthalle

Carlo Saraceni
Rest on the Flight into Egypt
ca. 1692
oil on canvas
Kunsthistorisches Museum, Vienna

Ignác Bendl
Rest on the Flight into Egypt
1700
etching
Museum of Fine Arts, Boston

Giuseppe Bartolomeo Chiari
Rest on the Flight into Egypt
1720
oil on canvas
Statens Museum for Kunst, Copenhagen

The Athenians, as long as the army of the enemy lay about Eleusis and the fields of Thrius and as long as they had any hope it would come on no farther, remembering that also Pleistoanax the son of Pausanias, king of Lacedaemon, when fourteen years before this war he entered Attica with an army of the Peloponnesians as far as Eleusis and Thriasia, retired again and came no farther (for which he was also banished Sparta as thought to have gone back for money), they stirred not.  But when they saw the army now at Acharnas but sixty furlongs from the city, then they thought it no longer to be endured; and when their fields were wasted (as it was likely) in their sight, which the younger sort had never seen before nor the elder but in the Persian war, it was taken for a horrible matter and thought fit by all, especially the youth, to go out and not endure it any longer.  And holding councils apart from one another, they were at much contention, some to make a sally and some to hinder it.  And the priests of the oracles giving out prophecies of all kinds, everyone made the interpretation according to the sway of his own affection.  But the Acharnians, conceiving themselves to be no small part of the Athenians, were they that, whilst their own lands were wasting, most of all urged their going out.  Insomuch as the city was every way in tumult and in choler against Pericles, remembering nothing of what he had formerly admonished them, but reviled him for that being their general he refused to lead them into the field, and imputing unto him the cause of all their evil. 

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

Aline Fruhauf – MIdcentury Tastemakers

Aline Fruhauf
Muriel King (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Louise Barnes Gallagher (fashion designer)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Helen Cramp Cookman (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Aline Bernstein (stage designer)
1943
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Clare Potter (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Fira Benenson (fashion designer)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Nettie Rosenstein (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Omar Kiam (fashion designer)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Tom Brigance (fashion designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
William Pahlmann (interior designer)
1939
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Sally Victor (milliner)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Lilly Daché (milliner)
1942
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Pola Stout (textile designer)
1941
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
James Berryman (cartoonist)
1949
ink and watercolor on paper
National Portrait Gallery, Washington DC

Aline Fruhauf
Duncan Phillips (art collector)
1949
ink and watercolor on paper
National Portrait Gallery, Washington DC

from Santarém

Of course, I may be remembering it all wrong

after, after – how many years?

That golden evening I really wanted to go no farther;

more than anything else I wanted to stay while

in that conflux of two great rivers, Tapajós, Amazon,

grandly, silently flowing, flowing east.

Suddenly there'd been houses, people, and lots of mongrel

riverboats skittering back and forth

under a sky of gorgeous, under-lit clouds,

with everything gilded, burnished along one side,

and everything bright, cheerful, casual – or so it looked.

I liked the place; I liked the idea of the place.

Two rivers. Hadn't two rivers sprung

from the Garden of Eden? No, that was four

and they'd diverged. Here only two

and coming together. Even if one were tempted

to literary interpretations

such as: life/death, right/wrong, male/female

– such notions would have resolved, dissolved, straight off

in that watery, dazzling dialectic. 

In front of the church, the Cathedral, rather,

there was a modest promenade and a belvedere

about to fall into the river,

stubby palms, flamboyants like pans of embers,

buildings one story high, stucco, blue or yellow,

and one house faced with azulejos, buttercup yellow. 

The street was deep in dark gold river sand

damp from the ritual afternoon rain,

and teams of zebus plodded, gentle, proud,

and blue, with down-curved horns and hanging ears,

pulling carts with solid wheels.

The zebus' hooves, the people's feet

waded in golden sand,

dampered by golden sand,

so that almost the only sounds

were creaks and shush, shush, shush.

Two rivers full of crazy shipping – people

all apparently changing their minds, embarking, 

disembarking, rowing clumsy dories.

(After the Civil War some Southern families

came here; here they could still own slaves.

They left occasional blue eyes, English names,

and oars. No other place, no one

on all the Amazon's four thousand miles

does anything but paddle.)

– Elizabeth Bishop (1978)

Italian Sojourns - IV

Johan Christian Dahl
Casa del Portinaio (gate house) at Villa Borghese, Rome
1821
oil on canvas
KODE (Art Museums Complex), Bergen

Christoffer Wilhelm Eckersberg
Casa del Portinaio (gate house) at Villa Borghese, Rome
1816
oil on canvas
Hamburger Kunsthalle

Christoffer Wilhelm Eckersberg
View of the Cloaca Maxima, Rome
1814
oil on canvas
National Gallery of Art, Washington DC

Georg Pauli
Trevi Fountain, Rome
1924
oil on canvas
Prins Eugens Waldemarsudde, Stockholm

Isaac Israëls
Trevi Fountain, Rome
ca. 1923
watercolor and gouache on paper
Kröller-Müller Museum, Otterlo, Netherlands

Isaac de Moucheron
View of Rome with Castel Sant'Angelo
1742
drawing
Morgan Library, New York

Herman van Swanevelt
Ruins on the Palatine Hill, Rome
ca. 1630
etching
Graphische Sammlung, ETH Zürich

Willem van Nieulandt the Younger
View of Rome with the Colosseum
ca. 1603
drawing
Morgan Library, New York

Anonymous French Artist
Interior of the Colosseum
19th century
oil on paper
Morgan Library, New York

Jan Frans van Bloemen
Landscape with the Vatican Belvedere in the Distance
1740
oil on canvas
Musée Magnin, Dijon

Paul Bril
View of the Roman Forum
1600
oil on copper
Gemäldegalerie Alte Meister, Dresden

Marquand Fidel Dominikus Wocher
The Arcus Argentariorum, Rome
1777
watercolor on paper
Städel Museum, Frankfurt

Rudolf von Alt
The Pantheon and Piazza della Rotunda, Rome
1835
watercolor on paper
Graphische Sammlung Albertina, Vienna

Nicolaes Berchem after Jan Asselijn
Italian Landscape with Ruined Aqueduct
1675
oil on canvas
Kunsthistorisches Museum, Vienna

Jean-François Sablet
Landscape with Fountain on the Road from Genzano di Roma
1804
oil on canvas
Musée Fabre, Montpellier

Ludwig Johann Passini
Artists from Northern Europe gathered at Caffè Greco, Rome 
1856
watercolor on paper
Hamburger Kunsthalle

This is the tomb of Achilles the man-breaker, which the Achaeans built to be a terror to the Trojans even in after generations, and it slopes to the beach, that the son of Thetis the sea goddess may be saluted by the moan of the waves. 

Here sit I, miserable Virtue, by this tomb of Ajax, with shorn hair, smitten with heavy sorrow that cunning Fraud hath more power with the Greeks than I.

By the tomb of Ajax on the Rhoetean shore, I, Virtue, sit and mourn, heavy at heart, with shorn locks, in soiled raiment, because that in the judgment court of the Greeks not Virtue but Fraud triumphed. Achilles' arms would fain cry, "We want no crooked words, but manly valour."

Alone in defence of the routed host, with extended shield didst thou, Ajax, await the Trojan host that threatened the ships. Neither the crashing stones moved thee, nor the cloud of arrows, nor the clash of spears and swords; but even so, like some crag, standing out and firmly planted thou didst face the hurricane of the foes. If Hellas did not give thee the arms of Achilles to wear, a worthy reward of thy valour, it was by the counsel of the Fates that she erred, in order that thou shouldst meet with doom from no foe, but at thine own hand. 

Ajax lieth in Troy after a thousand vaunted deeds of prowess, blaming not his foes but his friends.

Hector gave his sword to Ajax and Ajax his girdle to Hector, and the gifts of both are alike instruments of death.

Bitter favours did Hector and Ajax of the great shield give each other after the fight, in memory of their friendship. For Hector received a girdle, and gave a sword in return, and they proved in death the favour that was in the gifts. The sword slew Ajax in his madness, and the girdle dragged Hector behind the chariot. Thus the adversaries gave each other the self-destroying gifts, which held death in them under pretence of kindness. 

– from Book VI (Sepulchral Epigrams) of the Greek Anthology, translated and edited by W.R. Paton (1917)

Italian Sojourns - III

Friedrich Wilhelm Ludwig
Cloister of San Francesco at Amalfi
1851
drawing
Städel Museum, Frankfurt

Rudolf von Alt
Cloister at Monreale in Sicily
1867
watercolor on paper
Graphische Sammlung Albertina, Vienna

Johann Christian Reinhart
Waterfall inside Vaulted Ruins -
Villa of Mecenate at Tivoli
1793
drawing (print study)
Graphische Sammlung Albertina, Vienna

Johann Christian Reinhart
Waterfall inside Vaulted Ruins -
Villa of Mecenate at Tivoli
1793
etching
British Museum

Johann Heinrich Schmidt
Waterfall at Tivoli
ca. 1790
oil on canvas
Hessisches Landesmuseum, Darmstadt

Franz Edmund Weirotter
View at Tivoli
1764
drawing
Graphische Sammlung Albertina, Vienna

Melchior Küsel after Johann Wilhelm Baur
Antique Statues - Garden of Prince Mattei, Rome
1681
etching
Herzog Anton Ulrich Museum, Braunschweig

Melchior Küsel after Johann Wilhelm Baur
Antique Statues - Entrance to Borghese Gardens, Rome
1670
etching
Herzog Anton Ulrich Museum, Braunschweig

Peter Joseph Krahe
Entrance, Farnese Gardens, Palatine Hill, Rome
ca. 1783-84
drawing, with added watercolor
Städtisches Museum, Braunschweig

Johann Striedbeck the Younger
Pallas Athena in the Roman Forum
ca. 1690
etching
Herzog August Bibliothek, Wulfenbüttel

Wilhelm Kandler
Forum of Nerva, Rome
ca. 1880
oil on paper
Graphische Sammlung Albertina, Vienna

Louis Kolitz
Two Churches in Rome -
Santa Maria della Vittoria and Santa Susanna
ca. 1892
oil on paper, mounted on panel
Museumslandschaft Hessen Kassel

Louis Kolitz
Trevi Fountain, Rome
ca. 1892
oil on paper, mounted on panel
Museumslandschaft Hessen Kassel

Johann Heinrich Roos
Ruinous Relief Panel in Italianate Landscape
ca. 1660
drawing
Graphische Sammlung Albertina, Vienna

Anonymous German Artist
Ruined Aqueduct, Roman Campagna
19th century
watercolor on paper
Graphische Sammlung Albertina, Vienna

Johann Heinrich Ramberg
Roman Carnival Scene
ca. 1781-88
watercolor on paper
Städel Museum, Frankfurt

Small am I, the barrow of Priam the hero, not that I am worthy of such a man, but because I was built by the hands of his foes.

Do not judge Hector by his tomb or measure by his barrow the adversary of all Hellas. The Iliad, Homer himself, Greece, the Achaeans in flight – these are my tomb – by these all was my barrow built. (If the earth you see above me is little, it is no disgrace to me, I was entombed by the hands of my foes the Greeks.)

Hector, constant theme of Homer's books, strongest bulwark of the god-built wall, Homer rested at thy death and with that the pages of the Iliad were silenced.

With Hector perished Troy and no longer raised her hand to resist the attack of the Danai. And Pella, too, perished with Alexander. So fatherlands glory in men, their sons, not men in their fatherlands.

Tell, O column, the parentage of him beneath thee and his name and country and by what death he died. "His father was Priam, his country Ilion, his name Hector, and he perished fighting for his native land."

O Thessalian Protesilaus, long ages shall sing of thee, how thou didst strike the first blow in Troy's predestined fall. The Nymphs tend and encircle with overshadowing elms thy tomb opposite hated Ilion. Wrathful are the trees, and if they chance to see the walls of Troy, they shed their withered leaves. How bitter was the hatred of the heroes if a part of their enmity lives yet in soulless branches. 

– from Book VI (Sepulchral Epigrams) of the Greek Anthology, translated and edited by W.R. Paton (1917)