1. The Painter and his Model (1878). Charles Bargue (French, 1825/26-1883). Oil on panel.

    Bargue is mostly remembered for his Cours de dessin, one of the most influential classical drawing courses conceived in collaboration with Jean-Léon Gérôme. The course, published between 1866 and 1871 by Goupil & Cie, and composed of 197 lithographs printed as individual sheets, was to guide students from plaster casts to the study of great master drawings and finally to drawing from the living model.

  2. Students reading. Illustration by Al Parker (American, 1906-1985). Good Housekeeping, 1950s.

    One of the motivations for his ever-evolving style was to keep his identity separate, as his works, once published, often provided “inspiration” for a coterie of followers. He complained that he could only stay one month ahead of the pack. Parker once laid down the gauntlet by illustrating an entire issue of Cosmopolitan using a different style (and pseudonym) for each story.

  3. A Young Girl Reading. Attributed to George Elgar Hicks (English, 1824-1914). Oil on canvas.

    Although this work is an exception, Hicks’ paintings were often of subjects that no other artists attempted, such as the General Post Office and Billingsgate Fish Market. Hicks was one of the few artists that showed lasting interest in the emulation of Frith’s style and is generally considered Frith’s principal imitator.

  4. Tamara Rojo in Raymonda, act 3. English National Ballet in Nureyev Tribute. © Foteini Christofilopoulou.

    Speaking of the Nureyev legacy, Rojo released a statement: “Nureyev is without a doubt the most inspiring figure in the history of male dancing. His defection caused a huge stir, but most importantly he changed forever the way we viewed the role of the male ballet dancer in the West. His huge legacy left an imprint throughout the classical repertoire and he continues to be an inspiration to the generations of young dancers today.”

  5. Ballet Dancer with Fan. Louis Kronberg (American, 1872-1965). Pastel.

    Kronberg studied art at the School of the Museum of Fine Arts in Boston and the Art Students League in New York. He spent much of his career in France, purchasing art for Isabella Stewart Gardner of the Gardner Museum in Boston. Upon returning to the US, he became a prominent artist in Cape Ann, Massachusetts. This pastel draws direct comparisons to Degas’ ballet series in both style and subject matter.

  6. The Lost Weekend. Charles Jackson. Time Inc., 1963 (first published 1944).

    A groundbreaking novel and study on alcoholism. Set in a rundown neighborhood of Manhattan in 1936, the novel explores a five-day alcoholic binge. Don Birnam, a binge drinker mostly of rye, fancies himself a would-be writer. He lapses into foreign phrases and quotes Shakespeare even while attempting to steal a woman’s purse, trying to pawn a typewriter for drinking money, and smashing his face on a banister. That accident gets him checked into an “alcoholic ward.” 

  7. Portrait of Princess Giacinta Orsini Buoncampagni Ludovisi (c.1758). Pompeo Batoni (Italian, 1708-1787). Oil on canvas.

    Princess Giacinta Orsini (1741-59) was the wife of Antonio Buoncompagni Ludovisi. She was a patron of the arts and she is represented in this portrait with the attributes of the Muses.

  8. Model sits on the floor reading. Charm cover, July 1945. By Farkas.

    Model is wearing a Everfast cotton seersucker dress, Town & Country ration-free gabardine playshoes and Coty’s Magnet Red lipstick while looking a group of books. Rattan chair behind model. Prize Fiction Number and Hot Weather Fashions issue.

  9. The Musician (1929). Tamara de Lempicka (Polish, 1898-1980). Oil on canvas.

    In the 1920s Lempicka became closely associated with lesbian and bisexual women in writing and artistic circles, such as Violet Trefusis, Vita Sackville-West, and Colette. She also became involved with Suzy Solidor, a night club singer at the Boîte de Nuit, whose portrait she later painted. Her husband eventually tired of their arrangement and abandoned her in 1927.

  10. Facing the World, or, The Haps and Mishaps of Harry Vane. Horatio Alger, Jr. New York: New York Book Co, 1910.

    "HARRY VANE: I have received your letter saying that your father wants me to be your guardeen. I don’t know as I have any objections, bein’ a business man it will come easy to me, and I think your father was wise to seleck me. I am reddy to receave you any time…"

  11. Girl Reading (verso) (c.1930). Philip Naviasky (British, 1894-1983). Oil on board. Pannett Art Gallery.

    The present work exemplifies Naviasky’s technique of combining patches of bold, saturated colouring against plain backgrounds in a way that illuminates his subjects. Naviasky’s technical accomplishment can be further appreciated in the way two seemingly different colour choices (back wall and coat) blend as corresponding colours.

  12. Claudia Schiffer and Nick Constantino reading in GUESS eyeware. Spring-Summer, 1990, GUESS campaign. Photographed by Ellen Von Unwerth.

    “I think that women open up more to a female photographer. It’s like little girls playing around. You can be a bit naughty and do things you wouldn’t do in front of boys. It’s more relaxed somehow. I think it’s an empowering experience.” — Ellen Von Unwerth.

  13. Fanny Kemble (1834). Thomas Sully (American, 1783–1872). Oil on canvas. White House.

    "… The actress’s softly brushed, loosely contoured, impossibly long shoulder and her right arm are put into virtually the same plane, close to the picture’s surface. This unusual, contrived pose—the upper body is a tall narrow lozenge, the right elbow its insubstantial base—injects a wistful, ephemeral note, complemented by the exquisite transparency of the organdy sleeve."

  14. Always Warm and Bright (1912). Mervyn Lawrence. Published by Underground Electric Railway Company Ltd.

    London Underground posters from 1908 frequently stressed the importance of travel for women.The red and green colours of the interior of an Underground car in Always Warm and Bright 1912 echo the brilliant colours of both Karlowska’s and Ginner’s representations of London. 

  15. The Love Letter. Gaetano Bellei (Italian, 1857-1922). Oil on canvas.

    Bellei studied in Rome at the Academy de San Luca. Then he settled in Florence. In 1883 he began to participate in major national exhibitions.