Geoff Winningham's photographic essays record daily street life and ritual.

"There exists no self-portrait by me. I am not interested in a specific personal appearance as a 'subject for a picture,' but rather am I interested in other individuals, above all women."—Gustav Klimt

Centered in this hypnotic assemblage of scenes, an elegant diner blindly stares forward as she is bitten by a man. To the left an aged tramp leans towards the lady. On the right, the diner's fellow guests become entwined with ghostlike personages in terrifying encounters. These apparitions form a mass of dark fog comprised of anonymous faces.

The plump, furry body of Caliban sits on a sea shore. His wide curious glance upward and unstable perch suggest a distracted pause in motion. Caliban is a principle antagonist in Shakespeare's The Tempest. He is a beastly, lonesome native of a deserted island suddenly occupied by a pompous, exiled duke.

Ferdinand Hodler's figure raises an axe high above his head. The woodcutter's stance, legs wide and muscles taut, stresses the exertion of his labor. Hodler places the woodcutter against a blank backdrop of a white sky. The thick Swiss forest is merely hinted at as all attention is directed at the forester's effort. The woodcutter's determination and individuality symbolize a broad cultural identity.

Breton women in characteristic white headdresses stand beside a rickety wood fence. A more distant Breton sits beside a cow and goose. Paul Gauguin found the refreshingly primitive agricultural society of Brittany's countryside inspiration for new artistic conventions. In this print, Gauguin folds the distant rolling hills into two vertical planes bedecked by smudges of trees and fence lines.

Polite butterfly wings frame this striking landscape, enlivened by a spectrum of warm and cool hues. A majestic couple and servant stand beside classical architecture. In a lush garden, a mysterious woman in purple sits by a golden Roman statue. A flowing watercolor on silk, this fan reveals Charles Conder's interest in Japanese and Chinese scrolls.

In this intimate lithograph, Odilon Redon portrays Helene, a pretty young courtesan. Wearing a veil and turning her head to the right, she stands in front of an indistinct backdrop. Silent women with closed eyes recur in Redon's work as sleepers, dreamers, or visionaries.

Franz von Stuck's Lucifer is the pendant to his first masterpiece, The Guardian of Paradise, an image of a heroic, idealized youth. Von Stuck etches a strong, sculpted man cloaked in dark wings encircled in shadow.