Alex Coleville
1973
Roy Lichtenstein
1963
Pop Art
Thyssen-Bornemisza Museum, Madrid, Spain
Jeff Koons
1988
Gustave Courbet
1868
Jean Auguste Dominique Ingres
1807
Diego Rivera
1923
Paul Peel, 1889
Pierre-Auguste Renoir
1881
Clark Art institute, Williamstown, MA, US
Jean Auguste Dominique Ingres
1808
Mary Cassat
1890-1891
Rene Magritte
1935
Paul Peel, 1892, Academicism
Paul Gauguin
1857
Gustave Courbet
1866
Gustave Courbet
1868
Edouard Manet
1875
Edgar Degas
1888-1892
Pierre Auguste Renoir
1888
Pierre-Auguste Renoir
1875
Impressionism
Barnes Foundation, Lower Merion, PA, US
Pierre Bonnard
1912
Jean Francois Millet
1846-48
Georges Braque
1932
Rene Magritte
1925
Musee des Beaux Arts de Montreal
Wilhelm Lehmbruck
Duisburg, Germany, 1881– Berlin 1919
1914
Cast stone
93 x 46 x 45 cm
Purchase, inv. 1949.1023
Lehmbruck lived from 1910 to 1914 in Paris, but ultimately returned to his native country, where he died an untimely death. The young generation of sculptors strove to forget Rodin by returning to the simplified, solid and measured volumes of antique statuary. This Bathing Woman evokes the classicism of the Greco-Roman Venus Pudica, a figure portrayed modestly covering her nudity. Though influenced by the French sculptor Maillol, Lehmbruck developed a personal style characterized by elegantly elongated forms described at the time as “gothic,” softened by a sfumato-like treatment of the smooth surfaces. The unusual use of cement, or “cast stone,” can be explained by Lehmbruck’s contact with other foreign artists living in Montparnasse, such as Brancusi and Archipenko. By opting pragmatically for this material—less expensive than marble or bronze, but more solid than plaster or terra cotta—they were able to produce low-cost editions in a distinctly modern manner.
Camille Corot
1873-1874
Camille Pissarro
1895
Camille Pisarro
1895
Felicien Rops, c.1878 - c.1881
Edouard Manet, c.1878, Musée d'Orsay, Paris, France
Henri Matisse, 1907
Edgar Degas
189- 1905
Pierre-Auguste Renoir
1870
Pierre-Auguste Renoir
1888
Picasso, 1908, Cubism
Pierre-Auguste Renoir
1893
Pierre-Auguste Renoir
1895
Daniel Malingue Gallery, Paris, France
Paul Gauguin, 1892, Museo Nacional de Bellas Artes
Pierre-Auguste Renoir
1904
Pierre-Auguste Renoir
1905
Pierre-Auguste Renoir
1907
Eugene Delacroiz
1821-1822
Romanticism
Museum of Fine Arts, Boston, MA, US
Pierre-Auguste Renoir
1909
Pierre-Auguste Renoir
1912
Edgar Degas
1893
Pierre-Auguste Renoir
1913
Pierre-Auguste Renoir
1914
David Burliuk
19th-20th century
Paul Gauguin
Rembrandt, 1658
Degas
Pierre-Auguste Renoir
1896
Edgar Degas, c. 1883
Degas, 1898
Musee D’Orsay, Pari
Gustave Courbet
1866
Gustave Courbet
1868
Pierre Bonnard
1935
Pierre-Auguste Renoir
c.1910
Rembrandt, 1631, Baroque
Zinaida Serebriakova, 1911, Art Nouveau (Modern)
Jean-Léon Gérôme (1824–1904): Fine Arts Museums of San Francisco
Willem de Kooning, 1963, Solomon R. Guggenheim Foundation
Rineke Dijkstra, 1993, Chromogenic print, Solomon R. Guggenheim Museum, New York Purchased with funds contributed by the Photography Committee, 1998
Rineke Dijkstra is first and foremost a portraitist. Specifically, she documents individuals caught in transitional states of being: mothers just after giving birth; preadolescent bathers poised on various beaches in the United States and Eastern Europe; club kids just off the dance floor in England and the Netherlands; teenage soldiers in Israel. Formally, her comparative series resemble classical portraiture—frontally posed figures isolated against minimal backgrounds—and in some sense follow in the tradition of August Sander, the early- and mid-twentieth-century chronicler of occupational typologies in Germany. In contrast to Sander who sought to fix and identify social types—the baker, the bricklayer, the peasant—Dijkstra searches for glimmers of individuality among like types—a hair out of place, a bead of sweat on the brow, an uneven stance. The uniformity within each series is disrupted by the sitter’s emotional and physical particularities, which often expressly communicate a tension heightened by his or her shifting state.
Although she isolates the bathers in her Beaches series (1992–96) and frames them with only sea and sky, Dijkstra reveals much about them by capturing a subtle gesture or expression in these unguarded moments that reside somewhere between the posed and the natural. The end result is a collaboration between sitter and photographer, a record, however partial, of their interaction. In photographing the already awkward young subjects in their bathing suits, Dijkstra sets up a situation marked by exposure and self-consciousness that parallels the uneasy passage between childhood and adulthood. The images represent individuals from various countries and, as a whole, add up to a meditation on adolescent disconcertment. The photograph is the ideal medium for Dijkstra’s practice precisely because of its explicit suspension of the movement of time: like Dijkstra’s subjects, photographs are always between one moment and another.”
Karl Bryullov
1832
Artemisia Gentileschi, 1645-1650, Neues Palais in Potsdam
Rembrandt, 1654
Marc Chagall
1956
Marc Chagall
1980
Ernst Fuchs, 1995, Fantastic Realism
Marc Chagall
1956
Marc Chagall
1956
Marc Chagall
1952
Marc Chagall
1962-63
Hans Memling
1480
William Drost
1654
Louvre Museum
Jean-Léon Gérôme
1888
William Blake
1799-1800
1643
Metropolitan Museum of Art, NY
Massimo Stanzione, c.1620-1630
Maurice Denis, 1899, Post-Impressionism
Artemesia Gentileschi, 1610
Pablo Picasso, 1955
Museum Picasso, Málaga, Spain
Paul Serusier
Synthetism
Jacopo Robusti, aka Tintoretto
1555
Anthony van Dyck
1621-22
Baroque
Artemisia Gentileschi, 1652, private collection
Rubens
1609-10
Baroque
Guido Reni
1620
Baroque
Rembrandt, 1647, Gemäldegalerie, Berlin, Germany
Annibale Carracci
Artemesia Gentileschi
Pablo Picasso
Rubens
1611
Hermitage Museum, Saint Petersburg, Russia
Peter Paul Rubens, 1607-8
Borghese Gallery, Rome, Italy
Franz Stuck
1913
Symbolism
Paolo Veronese
Mannerism
Veronese
1585-88
Mannerism
Gustave Moreau
1895
Symbolism
Lorenzo Lotto, 1517, Uffizi Gallery, Florence, Italy
High Renaissance
Jacob Jordaens
1653
Erte
Art Deco
Franz Stuck
1904
Symbolism
Rubens
1647
Franz Stuck
1913
Symbolism
Jacques Stella
Classicism
Lovis Corinth
1923
Expressionism, Impressionism
Guercino
1617
Baroque
Pieter van Hanselaere
1820
Rijksmuseum, Amsterdam, Netherlands
Jan Dirksz Both
1642
Baroque
Giuseppe Bartolomeo Chiari
late Baroque
The Walters Art Museum.
Thomas Hart Benton, 1938, 20th Century
Oil and Tempera on Canvas mounted on Panel
Fine Arts Museums of San Francisco
Massimo Stanzione, Städel
Jan Matsys
The Phoebus Foundation
Alessandro Allori
Jacob Jordaens, 17th century
Royal Museum of Fine Arts of Belgium
Massimo Stanzione, 1631-1637, Joslyn Art Museum
Alexander Roitburd
2012
Transavantgarde
Julius Schnorr von Carolsfeld, (1794–1872)
Rembrandt, 1634
Gustave Dore
19th Century
Pablo Picasso, 1937, The Solomon R. Guggenheim Foundation Peggy Guggenheim Collection, Venice, 1976
"During the early months of 1937 Pablo Picasso was responding powerfully to the Spanish Civil War with the preparatory drawings for Guernica and with etchings such as The Dream and Lie of Franco, an example of which is in the Peggy Guggenheim Collection. However, in this period he also executed a group of works that do not betray this preoccupation with political events. The subject of On the Beach, also known as Girls with a Toy Boat, specifically recalls Picasso’s Three Bathers of 1920. Painted at Le Tremblay-sur-Mauldre near Versailles, On the Beach is one of several paintings in which he returns to the ossified, volumetric forms in beach environments that appeared in his works of the late 1920s and early 1930s. On the Beach can be compared with Henri Matisse’s Le Luxe, II, ca. 1907–08, in its simplified, planar style and in the poses of the foreground figures. It is plausible that the arcadian themes of his friendly rival Matisse would appeal to Picasso as an alternative to the violent images of war he was conceiving at the time.
At least two preparatory drawings have been identified for this work. In one (Collection Musée Picasso, Paris), the male figure looming on the horizon has a sinister appearance. In the other drawing (present whereabouts unknown),¹ as in the finished version, his mien is softened and neutralized to correspond with the features of the two female figures. The sense of impotent voyeurism conveyed as he gazes at the fertile, exaggeratedly sexual “girls” calls to mind the myth of Diana caught unaware at her bath."
Lucy Flint
Pablo Picasso: Solomon R. Guggenheim Museum, New York, Thannhauser Collection, Gift, Justin K. Thannhauser, 1978
"After World War I, a number of artists active in the international avant-garde (including French painters André Derain, Fernand Léger, and Henri Matisse, as well as Italians Giorgio de Chirico and Gino Severini) turned to classicism as a source for form and content. This reinterpretation of classical imagery has been described as a search for tranquility in a world destabilized by the carnage of war and the socioeconomic upheaval caused by mass industrialization. The informal name for this period, the Return to Order, comes from French poet Jean Cocteau’s book Le rappel à l’ordre (1926), in which he discussed these developments.
One of Pablo Picasso’s early classicizing works is Olga Picasso in an Armchair (Portrait d’Olga dans un fauteuil, 1917), an oil painting of his future wife, a dancer with the Ballets Russes, in a style inspired by the work of 19th-century neoclassicist Jean Auguste Dominique Ingres. In Picasso’s static and calm composition, the figure is elegantly and ideally proportioned. Before long, however, the artist subverted his own placid style with works such as Three Bathers (Trois baigneuses, August 1920), in which he created what might at first seem like an Arcadian idyll, until one notices that the bodies of the languishing nudes are distorted. A gigantic hand and swollen arm cradle the too-small head of the reclining figure in the foreground, while the arms and legs of the seated nude are impossibly long relative to her head and torso. With these enlargements and attenuations, Picasso combined classical symmetry with its opposite, the grotesque. The liberties with form are magnified by the amount of space they take—nearly the entire width and height of the picture—and their placement against three bands of almost entirely unmodulated color meant to stand for blanket, water, and sky. The insertion of such inflated forms into a shallow space conveys a monumentality of scale, regardless of the dimensions of the work itself." — Robin Clark
Henri Matisse, The Minneapolis Institute of Arts
Henri Matisse, 1908
Ernst Ludwig Kirchner
Paul Gauguin (1848–1903): Metropolitan Museum of Art, Manhattan, New York City
Paul Gauguin (1848–1903): National Gallery of Art, Washington D.C
Cezanne,
1878
Pablo Picasso, Musée Picasso de Paris
Durer, 1496
Pierre-Auguste Renoir
c.1915
Pierre-Auguste Renoir
1917
Pierre-Auguste Renoir
1918-1919
Musée d'Orsay, Paris, France
Max Weber, 1881-1961
Pierre-August Renoir
c.1897
Max Weber, 1881-1961
Pablo Picasso, 1907
Museum of Modern Art, Manhattan
Pierre-Auguste Renoir
1887
Philadelphia Museum of Art, Philadelphia, PA, US
Camille Pissarro
1894
Camille Pissarro
1901
Tamara de Lempicka
1929
Camille Pisarro
1896
Tamara de Lempicka
1929
Rene Magritte
1921
Fernand Leger
19th-20th century
Picasso, 1920
Albrecht Durer
1496
David Burliuk
19th-20th century
Camille Pissarro
1895
Georgio de Chirico
1955
Jean Auguste Dominique Ingres
Jean Auguste Dominique Ingres
Georgio de Chirico
1934
Fernand Leger
19th-20th century
Fernand Leger
19th-20th century
Picasso, 1908, Analytical Cubism
Paul Gauguin, 1898, Cloisonnism
Zinaida Serebriakova, 1913, Art Nouveau (Modern)
Paul Gauguin, 1892, Honolulu Museum of Art