A Short History of Modern Painting, 1982 by Mark Tansey (b. 1949)
“Suffer me that I may speak; and after that I have spoken, mock on” (Job 21: 3, KJV)
The Mocking of Job, c. 1550 by Jan Mandyn (attributed; c. 1500-1559)
“The Painting after Lunch”
by
Clarence Major
It wasn’t working. Didn’t look back. Needed something else. So
I went out. After lunch I saw it in a different light, like a thing
emerging from behind a fever bush, something reaching the
senses with the smell of seaweed boiling, and as visible as yellow
snowdrops on black earth. Tasted it too, on the tongue Jamaica
pepper. To the touch, a velvet flower. Dragging and scumming, I
gave myself to it stroke after stroke. It kept coming in bits and fits,
fragments and snags. I even heard it singing but in the wrong key
like a deranged bird in wild cherries, having the time of its life.
St. Lucy, 1521 by Domenico Beccafumi (1486-1551)
On the Map, 1937 by William Coldstream (1908-1987)
The Man with the Cubist Head, 1987 by Julio Larraz (b. 1944)
John Jacob-Jingle-Heimer-Schmidt, 2011 by John Jacobsmeyer (b. 1964)
A Shepard for First Days, 2017 by Jean-Pierre Roy (b. 1974)
Planes, Rockets, and the Spaces in Between, 2018 by Amy Sherald (b. 1973)
Judith and Holofernes, 2012 by Kehinde Wiley (b. 1977)
To Reason with Heathen at Harvest, 2017 by Lynette Yiadom-Boakye (b. 1977)
Janus, 2017 by Michael Bergt (b. 1956)
Representation Véritable, 2015 by Walton Ford (b. 1960)
Bird and Mastadon, c. 1940s by György Kepes (1906–2001)
Mercury Sent to Admonish Aeneas, by Joseph Mallord William Turner (1775–1851)
Venus and Adonis, 1981 by Stephen McKenna (1939–2017)
A Boy Reading, c. 1795 by Ramsay Richard Reinagle (1775–1862)
Biblioklept 