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

Francesco Hayez, 1859, Pinacoteca di Brera, Milan Italy

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