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Anita Loos, 1926

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L'Abîme (The Abyss), marble, c.1901, by Just Becquet

Photos by Charles Reeza at the Musée d'Orsay in Paris

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1910-1930

V&A

This costume was created by the Dean's Company to promote their Dean's Rag Books. These were books for children printed on fabric, meaning that they could be washed and were marketed as being very hygienic. The costumes were made of pages from their books, sewn together, and supplied free on request to advertise the company's products. They came in several different styles, including this 'Pedlar Girl' outfit, as well as 'Queen', 'Pierrot' and 'Lucky Master Puck'. This example was owned by the donor's great aunt, who owned a toy shop in Andover, and may have displayed it in the window.

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Musée d'Orsay

Edouard Vuillard Geneviève Bernheim de Villers entre 1919 et 1920 peinture à la colle sur toile H. 111,5 ; L. 97,5 cm. Don Gaston Bernheim de Villers, père du modèle, 1951 © RMN-Grand Palais (Musée d’Orsay) / Hervé Lewandowski

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Allen Frame, Kevin in Polka Dot Dress, Cambridge, 1974

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Adee Roberson, Untitled (grandparents), 2020

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Akhmat Bikanov, b. 1996, works primarily with watercolour, which he appreciates for its ability to reveal the errors from behind the layers of translucent solution that allow for the colours to become more expressive, 2022.

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My Kingdom Is Not of This World (Pinckney Marcius-Simons, 1892)

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San Sebastián by Aurelio Cabrera y Gallardo (1870-1936).

Municipal Museum of Fine Arts of Santa Cruz de Tenerife

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During the period when the Dying Slave must have been done, and during the ensuing decade or so, Michelangelo frequently drew the human figure almost or even entirely without contours, resorting only to shading in leadpoint to indicate the beautiful swelling and subsidence of this ocean of turbulent physical life. Here, throughout the back and left arm, in the belly and the brilliantly rendered flank, this kind of pulsation reaches a completely new peak of plastic intensity.

The Dying Slave is, of course, not dying but simply overpowered by the bonds against which he plucks idly. It is as if he were drowsy, overcome by the stupefying effects of a potion. His tall figure seems ready to collapse, or rather to sink slowly downward […] The knees move together much like those of the Santo Spirito Crucifix; the head falls over like the Christ of the Rome Pietà; the soft abdomen, buttocks, and thighs recall the Bacchus; the left arm is lifted like that of one of the last nudes on the Sistine Ceiling. But at the very least the surfaces, as we see them finished everywhere save for portions of the back and the hair, show all the fluidity of Michelangelo’s mature style. Nowhere do the lines cut into the mass as they do in all the finished early sculpture. Line and mass have fused. And if here and there, as the detail of the right hand and the treatment of the nipple, some vestiges of the earlier linear manner persist, they are swept in the flood-tide of moving surfaces through the arms and legs.

— Michelangelo: The Complete Sculpture by Frederick Hartt (p.152-54)

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Tadanori Yokoo Takasaki Art Center College 1997 Printed lower right: TADANORI YOKOO 1997 Gift of the designer Silkscreen 40 5/8 x 28 11/16" (103.2 x 72.9 cm) Museum of Modern Art (New York, N.Y.)

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My Bloody Valentine

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Sleeping Beauty (Clyde Geronimi, 1959).

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Reliquary Bust of a Female Saint

17th Century

Belgium

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Inauguration of the Pleasure Dome | Kenneth Anger | 1954

Peter Loome, Marjorie Cameron, Joan Whitney, Renate Druks, Samson De Brier

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a.f. vandevorst spring 1999 campaign

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Vermont state fair, Rutland, 1941

photographed by Jack Delano

Library of Congress