1. Coquette. Walter Ernest Webster (British, 1878-1959).

    Coquette has same composition as Webster’s Souvenir of Schumann’s Carnaval, a homage to the German composer’s musical description of masked revelers. In both pictures the seated ballerina is most probably a representation of Clara Weick, the composer’s future wife, while the reticent Pierrot represents the dreamier and more contemplative side of Schumann’s personality. 

     
  2. Child reading and creating. Elizabeth Shippen Green. The Mind of a Child by Edwin S. Martin. Harper’s Monthly Magazine, December 1906.

    In the late 19th century and early 20th century about 88% of the subscribers of 11,000 magazines and periodicals were women. As women entered the artist community, publishers hired women to create illustrations that depict the world through a woman’s perspective. 

     
  3. A Young Woman Standing In An Archway. Jean-Baptiste Mallet (French, 1795-1835). Oil on panel.

    Mallet established his reputation with gouache genre scenes of fashionable and often libertine subjects, always elegant and refined, in the style of Louis-Philibert Debucourt and Louis-Léopold Boilly, and remarkable for the delicacy and brilliance of their brushwork.

     
  4. Rebecca Krohn, New York City Ballet. Photographer Henry Leutwyler.

    Krohn entered the School of American Ballet (SAB), the official school of New York City Ballet, as a scholarship student. Krohn was invited to become an apprentice with New York City Ballet in the fall of 1998, and she joined the Company as a member of the corps de ballet in spring 1999. In March 2006 she was promoted to soloist and to principal in May 2012.

     
  5. Young Woman in a Blue Dress. Edoardo Tofano (Italian, 1838-1920).

    Tofano completed studies at the Accademia Clementina of Bologna. He then returned to Naples were he became a follower of the Realism of Domenico Morelli. He was recruited as an instructor at the Art Institute of Naples, a post he held till 1864. He resigned to create works marketed by the Goupil Gallery in Paris, and was patronized by British collectors.

     
  6. The White Shield. Myrtle Reed. Binding designed by Margaret Neilson Armstrong. New York: G. P. Putnam’s Sons, 1912. First edition.

    "She look’d so lovely, as she sway’d
    The rein with dainty finger-tips,
    A man had given all other bliss,
    And all his worldly worth for this,
    To waste his whole heart in one kiss
    Upon her perfect lips.‎”

     
  7. Séverine (c.1895). Louis Welden Hawkins (French, 1849-1910). Oil on canvas. Musée d’Orsay.

    Although the painting alone suggests a determined modern woman writer, the representation of wheat and laurel leaves and the words Pax and Panis on the frame make Severine’s commitment clear. It had begun at a very early stage when she became the secretary of the socialist journalist and writer Jules Vallès, and continued through various publications in defence of the working-class which led her to the head of the newspaper Le Cri du Peuple from 1885 to 1888.

     
  8. Genica Athanasiou with sculpture (1930). Photograph by Man Ray. Pompidou Center.

    Athanasiou (Romanian, 1897-1966) was an actress, known for Colomba (1933), The Lighthouse Keepers (1929) and The Count of Monte Cristo (1954).

     
  9. Sarah Curran playing the harp (c.1805). William Beechey (English, 1753-1839). Bankfield Museum, Yorkshire.

    Sarah Curran (1782-1808), the youngest daughter of John Philpot Curran, an eminent Irish lawyer, was the great love of Irish nationalist Robert Emmet. When her father discovered that Sarah was engaged, he disowned her and then treated her so harshly that she had to take refuge with friends in Cork, married Robert Sturgeon, had a child which died in infancy, and died of consumption in 1808.

     
  10. The Shadow on the Blind and Other Ghost Stories. Mrs. Alfred Baldwin (nee Louisa MacDonald). London: J. M. Dent & Co. New York: Macmillan & Co., 1895. First edition.

    A prolific writer of fiction and poetry, Louisa MacDonald was at the heart of late Victorian and Edwardian political and artistic society. “Fairly conventional, commercial Victorian ghost stories … except for [“The Empty Picture Frame”], which has touches that lift it above the other stories.” - Bleiler, The Guide to Supernatural Fiction

     
  11. A Young Lady Writing a Letter (1875). Victor Gabriel Gilbert (French, 1847–1933). Oil on canvas.

    Gilbert concentrated on painting Parisian city life and Parisians at leisure. His natural ability for drawing was acknowledged at an early age. Later on he took lessons at the Ecole de la Ville, where he received his formal training from Pierre Levasseur. Gilbert first exhibited at the Salon in 1873 and 1874. 

     
  12. Kate Moss with books by Drew Jarrett for Allure, February 1997.

    "For the 23-year old model, reading is a habit honed in airports; collecting first editions is a recently acquired kick. Here, browsing in the Quinto bookshop. Silk chiffon beaded top by Marc Jacobs. Viscose and wool pants by Ann Demeulemeester." 

     
  13. Pygmalion and Galatea (1797). Louis Gauffier (French, 1761-1801). Oil on canvas. Manchester City Galleries.

    A mythological scene from Ovid, depicting Aphrodite breathing life into the statue of Galatea. Cupid follows, aiming his bow and arrow at the statue. Pygmalion, King of Cyprus stands gazing up at the statue. A tripod altar stands, smoking with burnt offerings, there is a fallen statue head on the ground.

     
  14. Reading. Yelena Bryksenkova.

    Bryksenkova was born in Saint Petersburg, Russia, raised in Northeast Ohio, and educated at the Maryland Institute College of Art in Baltimore and the Academy of Applied and Decorative Arts in Prague, Czech Republic, receiving her BFA in illustration in 2010.

     
  15. Lorenzo Lenzi (c.1532). Agnolo Bronzino (Italian, 1503-1572). Oil on panel. Castello Sforzesco, Milan.

    Lenzi, called il Lauro, was the son of a prominent Florentine family. (Lauro is the masculine form of Laura, the ideal lady to whom Petrarch dedicated amatory verses.) The youth in the portrait holds an open book inscribed with sonnets by Petrarch on the right and Benedetto Varchi on the left - where the sitter’s thumb suggestively overlaps the word “Poeta” bringing the viewer’s attention to the verse and its author.