Brunswick Monogrammist Brothel Scene ca. 1540-50 oil on panel Städel Museum, Frankfurt Jacob Ochtervelt Musical Company in a Brothel ca. 1668 oil on canvas Cleveland Museum of Art, Ohio Étienne de Lavallée Figures in Opera Boxes ca. 1760 drawing National Gallery of Canada, Ottawa Noel Counihan At the Moscow Ballet, Warsaw 1949 drawing, with gouache National Gallery of Victoria, Melbourne Mariano Fortuny The Choice of a Model 1874 oil on panel National Gallery of Art, Washington DC Charles-Joseph Natoire Life Class at the Royal Academy 1746 drawing, with watercolor Courtauld Gallery, London Jacques Gamelin Life Class 1779 engraving and letterpress (cutting from a title page) Wellcome Collection, London William Roberts The Model ca. 1956 watercolor on paper Art Gallery of South Australia, Adelaide W. Eugene Smith Carnegie Tech Art Students with Model ca. 1955-57 gelatin silver print Carnegie Museum of Art, Pittsburgh Jacques Lavallée after Jacques Gamelin Ancients studying Anatomy 1779 etching Wellcome Collection, London Henri Gervex Study for Autopsy at the Hôtel Dieu 1876 oil on canvas National Gallery of Art, Washington DC James Ensor Skeletons Warming Themselves 1889 oil on canvas Kimbell Art Museum, Fort Worth, Texas John Swope Giacometti Tall Figure IV Norton Simon Museum 1976 gelatin silver print Norton Simon Museum, Pasadena Anonymous British Artist Interior of the National Gallery of Scotland (on a day reserved for copyists and closed to the public) ca. 1868-72 oil on canvas Scottish National Gallery, Edinburgh Thomas Struth Louvre I 1989 C-print Museum Boijmans Van Beuningen, Rotterdam Melozzo da Forlì Sixtus IV della Rovere appoints Bartolomeo Platina as Prefect of the Vatican Library ca. 1477 detached fresco Pinacoteca Vaticana, Rome from Letters from Amherst Letters from Amherst came. They were written In so peculiar a hand, it seemed The writer might have learned the script by studying The famous fossil bird-tracks In the museum of that college town. Of punctuation There was little, except for dashes: 'My companion Is a dog,' they said. 'They are better Than beings, because they know but do not tell.' And in the same, bird-like script: 'You think My gait "spasmodic". I am in danger, sir. You think me uncontrolled. I have no tribunal.' Of people: 'They talk of hallowed things aloud And embarrass my dog. I let them hear A noiseless noise in the orchard. I work In my prison where I make Guests for myself.' The first of these Letters was unsigned, but sheltered Within the larger package was a second, A smaller, containing what the letter lacked – A signature, written upon a a card in pencil . . . – Charles Tomlinson (1966)