Alex Coleville
1973
Roy Lichtenstein
1963
Pop Art
Thyssen-Bornemisza Museum, Madrid, Spain
Jeff Koons
1988
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.
Jean Francois Millet
1846-48
Mary Cassat
1890-1891
Paul Peel, 1889
Paul Gauguin
Paul Peel, 1892, Academicism
Paul Gauguin
1857
Gustave Courbet
1866
Gustave Courbet
1868
Jean Auguste Dominique Ingres
1807
Edouard Manet
1875
Georges Braque
1932
Jean Auguste Dominique Ingres
1808
Eugene Delacroiz
1821-1822
Romanticism
Museum of Fine Arts, Boston, MA, US
David Burliuk
19th-20th century
Camille Corot
1873-1874
Camille Corot
1836
Camille Pissarro
1895
Camille Pisarro
1895
Rene Magritte
1935
Rene Magritte
1925
Edgar Degas
189- 1905
Edgar Degas
1888-1892
Edgar Degas
1893
Diego Rivera
1923
Pierre-Auguste Renoir
1870
Pierre-Auguste Renoir
1875
Impressionism
Barnes Foundation, Lower Merion, PA, US
Pierre-Auguste Renoir
1881
Clark Art institute, Williamstown, MA, US
Pierre-Auguste Renoir
1888
Pierre Auguste Renoir
1888
Pierre-Auguste Renoir
1893
Pierre-Auguste Renoir
1895
Daniel Malingue Gallery, Paris, France
Pierre-Auguste Renoir
1896
Pierre-Auguste Renoir
1904
Pierre-Auguste Renoir
1905
Pierre-Auguste Renoir
1907
Pierre-Auguste Renoir
1909
Pierre-Auguste Renoir
1912
Pierre-Auguste Renoir
1913
Pierre-Auguste Renoir
1914
Edouard Manet, c.1878, Musée d'Orsay, Paris, France
Felicien Rops, c.1878 - c.1881
Rembrandt, 1658
Henri Matisse, 1907
Degas
Edgar Degas, c. 1883
Degas, 1898
Musee D’Orsay, Pari
Gustave Courbet
1866
Gustave Courbet
1868
Gustave Courbet
1868
Pierre Bonnard
Pierre Bonnard
1912
1935
Pierre-Auguste Renoir
c.1910
Rembrandt, 1631, Baroque
Picasso, 1908, Cubism
Zinaida Serebriakova, 1911, Art Nouveau (Modern)
Jean-Léon Gérôme (1824–1904): Fine Arts Museums of San Francisco
Paul Gauguin, 1892, Museo Nacional de Bellas Artes
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