1. Alina Cojocaru in La Fille mal Gardee. The Royal Ballet. London, Royal Opera House, 2012. © John Ross.

    Cojocaru herself was enchanting in the long scene with her mother at the start of the second act: as her Titania earlier this season also showed, she has a quite unexpected talent for charming silliness. Elsewhere I found her rather too overwhelmingly sweet, but her dancing is light and lovely. — Jane Simpson, DanceTabs

  2. The Shade Hat (1912). William McGregor Paxton (American, 1859-1941). Oil on canvas. National Arts Club.

    Founded in 1898, the National Arts Club quickly became one of the country’s most prestigious associations. Early exhibitions reflecting the club’s liberal views on morality made it faintly notorious and its progressive nature was underscored by the fact that it included women as members from its inception. Paxton was granted life membership in exchange for a work ‘valued at not less than one thousand dollars.’

  3. The Cheerful Cricket and Others. Jeannette Augustus Marks. Illustrated by Edith Brown. London: George Allen, 1907.

    "The Cheerful Cricket had been running around anxiously in the grass all the morning. Mrs. Cricky carried her head down, and when she ran she scuttled, and when she stopped she was absolutely still, except for her eyes, which she turned about brightly in every direction. Mrs. Cricky was looking for food for Chee, Chirk and Chirp."

  4. Ellis Cornelia Knight (1793). Angelica Kauffman (Swiss, Neoclassical, 1741-1807). Oil on canvas. Manchester City Galleries.

    Portrait of Knight in a white dress with a blue, fringed mantle. Her belt has a large round buckle, which is decorated with a cameo head and the inscription “ANGELICA KAUFFMAN.” She is seated with a pencil in her hand at a table amongst papers and books. One of the papers is a drawing of a naval victory column.

  5. Laurie Anderson reading. Photo by Clifford Ross. BOMB. Fall 1999.

    Anderson has been at the forefront of performance art since the early ’70s. She performs solo work and larger ensemble pieces around the world using a wide variety of computer technology. She was working on Songs and Stories from Moby-Dick, her latest electronic opera. It was scheduled for its New York premier at the Brooklyn Academy of Music in October of 1999.

  6. Self-Portrait (1892). Anna Bilińska-Bohdanowicz (Polish, 1857-1893). 

    Self-Portrait was unfinished. The natural ease of the pose, a modesty of the attire, the attributes of the painter’s profession held in the hands and finally the open, bold look on the face, which conveys firmness and strength of character - clearly express the artist’s intention to present herself as an artist, who knows her worth, and as a woman, who has freed herself from the restrictions of the the era’s conventions.

  7. Isadora Duncan dancing at the Gaieté-Lyrique theater, Paris 1909. Published in the magazine L’Illustration, Paris, on 22 May 1909. Auguste François-Marie Gorguet (French, 1862-1927). Bibliothèque Des Arts Decoratifs, Paris.

    It was after one of these shows that Paris Singer, the wealthy heir to the Singer sewing machine empire, appeared at Isadora’s dressing room. With Singer’s marriage on the rocks, they embarked on a passionate affair. In September 1909, while in Venice, she found she was pregnant.

  8. Ritratto di Gina Severini (1934). Gino Severini (Italian, 1883-1966). Oil on canvas. Galleria Civica d’Arte Moderna e Contemporanea, Torino.

    While closely associated with the Futurist movement, Severini’s artistic style metamorphosed several times throughout his career. He is best known for using color to accentuate contrasts and emphasize his compositions’ musicality, which owes to his study of complementary colors and early adoption of Divisionism. He would later experiment with a Neoclassical figurative style.

  9. Myrna Loy, interrupted while reading, uses her finger to mark her place. Pictured in Screen Guide Magazine, August 1939.

    Some of the Loy’s early stage plays were held in the Grauman’s Theater in Hollywood. Mrs. Rudolph Valentino happened to be in the audience one night and managed to pull some strings to get Myrna some parts in the motion picture industry. Her first film was a small part in the production of What Price Beauty? (1925). 

  10. St Cecilia at the Organ (1671). Carlo Dolci (Italian, 1616-1687). Oil on canvas. Gemäldegalerie, Dresden.

    This painting is from the mature period of the artist. Saint Cecilia is at the organ with her hands on the instrument of the keyboard, and looking down. A vase of lilies is in the foreground.

  11. Moll Flanders. Daniel Defoe. Wordsworth Editions, 1993 (first published 1721).

    The novel’s full title gives some insight into the outline of the plot: “The Fortunes & Misfortunes of the Famous Moll Flanders, &c. Who was Born in Newgate, & during a Life of continu’d Variety for Threescore Years, besides her Childhood, was Twelve Year a Whore, five times a Wife (whereof once to her own Brother), Twelve Year a Thief, Eight Year a Transported Felon in Virginia, at last grew Rich, liv’d Honest, & died a Penitent. Written from her own Memorandums.”

  12. Allegory of Rhetoric (1650). Artemisia Gentileschi (Italian, 1593-1656).

    Holding a quill in her right hand, a blank sheet of paper on her desk, the woman is waiting for inspiration. If the woman’s expectant gaze evokes the immateriality of inspiration, the various objects present on the desk testify to the very materiality of the writing process: two quills, paper, an ink-stand, and what looks like a half-hidden paper knife, maybe symbolizing figures of speech as potential weapons.

  13. Polina Semionova in The Nutcracker, Bayerische Staatsoper, January 18, 2014. Photograph by Jack Devant.

    Semionova took on the role of Louise in John Neumeier’s The Nutcracker. As the Edwards family prepare for their Christmas party, Clara imagines the wonderful things that might happen. Her brother Frederick can’t miss a moment to tease her and is only stopped by the arrival of their beautiful older sister Louise.

  14. Salomé (1870). Henri Regnault (French, 1843–1871). Oil on canvas. Met.

    Regnault initially represented this Italian model as an African woman, but later transformed it into a representation of the biblical temptress Salomé. Hair ruffled, clothes in disarray, she has just danced for her stepfather Herod, governor of Judea. The platter and knife allude to her reward: the severed head of John the Baptist.

  15. Six Little Bunkers at Captain Ben’s. Laura Lee Hope. New York: Grosset & Dunlap, 1920.

    "Of course it was not a regular vessel, nor did it sail on water. In fact, there was no water in the attic of the house where the six little Bunkers lived. There was no water even when it rained, for the roof had no holes in it, and the attic made a lovely place for the children to play."