How Pictures Complete Us
The Beautiful, the Sublime, and the Divine
Paul Crowther



Figure 1. Piero della Francesca, Baptism of Christ (1448–1450)

Figure 2. Nicolas Poussin, A Bacchanalian Revel Before a Term (1632)

Figure 3. Frederic, Lord Leighton, Captive Andromache (1888)

Figure 4. Ian Hamilton Finlay, Five Finials (2001)

Figure 5. Edward Coley Burne-Jones, Study for Love Amongst the Ruins (1867–1870)

Figure 6. Roger Fry, View of Royat from the Parc Montjuizot (1934)

Figure 7. James Tissot, What Our Lord Saw from the Cross (Ce que voyait Notre-Seigneur sur la Croix) (c. 1886–1894)

Figure 8. John Martin, The Evening of the Deluge (1834)

Figure 9. Alfred William Hunt, A Stream in a Moorland Landscape (c. 1870)

Figure 10. Bracha Lichtenberg Ettinger, Autistwork n. 1 (1992–1993)

Figure 11. Bracha Lichtenberg Ettinger, Eurydice n. 23 (1994–1998)

Figure 12. Barnet Newman, Stations of the Cross: First Station (1958)

Figure 13. Barnet Newman, Stations of the Cross: Third Station (1958–1966)

Figure 14. Barnet Newman, Stations of the Cross: Ninth Station (1958–1966)

Figure 15. Barnet Newman, Stations of the Cross: Tenth Station (1958–1966)

Figure 16. Mark Rothko, Light Red over Black (1957)

Figure 17. Mark Rothko, Black on Maroon (1958)

Figure 18. Mark Rothko, Red on Maroon (1959)

Figure 19. Arlo P. Darkly, The Terminator (c. 1993)