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  1. Philosophy Unveiling Truth (1771). Louis-Jean-François Lagrenée the elder (French, 1725-1805). Oil on copper. National Trust, Stourhead.

    By allegorical means, this painting depicts the revelation of truth by the application of philosophy. The female personification of Philosophy on the right-hand side of the composition is seen in the moment of discovering the beauty of unadorned Truth by lifting away her white drapery. The picture was bought directly from the artist by the Hoare family for a sum of 300 French Livres under the title La Philosophie qui dévoile la Vanité.

  2. Juliana Grüner with architecture in “Walk and Talk” for Plaza Kvinna, November 2016. Photograph by Jaclyn Adams.

    “Kappa, 19 890 kr, topp, 3 390 kr, och shorts, 2 690 kr, Max Mara. Örhängen, pris vid förfrågan, Altuzarra. Skor, 9 459 kr, Mulberry.”

  3. Italian Woman with Child (c.1836). Franz Xaver Winterhalter (German, 1805-1873). Oil on canvas. 

    The painting depicts an unknown woman and child dressed in ordinary fashion. Common as the subject matter may be, Winterhalter treated the painting with no less attention or genius, elegance or delicacy. The painting clearly shows the influence of the French artistic tradition. While the faces of the mother and child are executed with painstaking exactitude, the background is handled with painterly flare, which lends a sense of immediacy to the entire composition.

  4. The Dead Alive. Wilkie Collins. Boston: Shepard and Gill, Publishers, 1874. First edition.

    The story is based on one of the most famous cases of American criminal law, the trial of Jesse and Stephen Boorne in 1819 at Manchester, Vermont, for the murder of Russell Colvin. Collins wrote this tale during his 1873-1874 reading tour of America. His story is based on an account of the trial written by Leonard Sargent, one of the defense counselors, published in 1873, fifty-four years after the event.

  5. Annunciation (c.1455). Benedetto Bonfigli (Italian, c.1420-1496). Tempera and gold on panel. Galleria Nazionale dell'Umbria, Perugia.

    Bonfigli located the figures in an enclosure with decorative architectural elements. The painter used gold to highlight details that emphasise the divine elements such as the haloes. God the Father sends the Dove of the Holy Spirit with its two small flames directly to Mary’s heart. 

  6. Mariam de Vinzelle as schoolgirl with book in “About Mariam” for Muse Magazine, Spring Summer 2018. Photograph by Ward Ivan Rafik.

    “Dress Jil Sander, shirt Chanel, necklace Dior, backpack The North Face.”

  7. Dancer (Study) (c.1875). Bertalan Székely (Hungarian, 1835-1910). Oil on canvas. Hungarian National Gallery.

    Székely first turned to the problem of capturing the gracious movements of female dancers in the 1860s. Here he seems to have been much preoccupied with lighting and the impressionistic delineation of the tired dancer at rest. Despite the warm yellow-red tones, a quiet resignation dominates the painting - this mood is probably in reference to the letter the fragile female beauty is holding in her hand.

  8. Yale University Department of Surgery. In memory of Samuel C. Harvey. Artist: not known. Cushing/Whitney Medical Library.

    A surgical operation, with a bright light shining from the ceiling. Below the image is a row of books. “Dr. Harvey was a consummate surgeon, scholar, educator, role model, historian, and philosopher. He was Chair of the Department of Surgery at Yale University School of Medicine for 23 years. He introduced active learner-centered education, aka the ‘Yale System,’ and he was known by everyone to enjoy a cigar or pipe, a book, and a desire to stay longer in bed!’

  9. The Letter (1891). Mary Cassatt (American, 1844-1926). Drypoint and aquatint plate. McNay Art Museum.

    One of the ten color aquatints Cassatt created in Paris in 1890-1891, adapting the ukiyo-e theme of woman’s daily routine to one descriptive of the modern-day French woman, such as this letter writer sealing an envelope. Cassatt combines the color palette of Japanese woodblock prints, non-Western perspective, patterning that flattens the image, and a composition that compresses the scene into a single picture plane.

  10. Laura Morera and Tristan Dyer in Liam Scarlett’s The Age of Anxiety, The Royal Ballet, June 2015. © Dave Morgan.

    Scarlett’s ballet has a story of sorts, concerning four strangers who come together in a New York bar during the Second World War. They flirt, drink, talk, hash out their fears, hide their loneliness. The lone woman (Laura Morera) desires the young sailor (Steven McRae), who aggressively seduces her while simultaneously toying with the affections of a retiring young man (Tristan Dyer).

  11. The Masterpiece Revealed. Oreste Cortazzo (Italian, 1836-1910). Oil on cradled panel.

    There is an elegance and virtuosity of the drawing combined with the abundance of artistic references. This scene of study and contemplation of five women in a monumental gallery allowed the painter to depict various detailed artworks and objects: 17th-century tapestries, Renaissance furniture, a baroque marble table and decorative objects. Cortazzo showed his taste for the Far East with the bronze statue and Chinese porcelains.

  12. Prisoners. Franz Molnar. Indianapolis: The Bobbs-Merrill Company, (1925). First edition. Original dust jacket. Translated from the Hungarian by Joseph Szebenyei. 

    Exciting court-room novel of a pastry-shop robbery which interrupts the impending marriage of a young lawyer and the prison warden’s daughter. Basis for the 1929 Warner Brothers Picture directed by William A. Seiter and starring Corinne Griffith and Ian Keith, with Bella Lugosi.

  13. Reading. Léon Augustin Lhermitte (French, 1844-1925). Oil on canvas.

    In 1863 Lhermitte went to Paris as a pupil of the École Impériale de Dessin, where he had the same teacher as Rodin, the well known Lecoq de Boisbaudran who gave a course in dessin par la mémoire. A year later one of his drawings was admitted at the Salon in Paris; his first painting was accepted in 1866.

  14. Hannah Ferguson with piano and sculptural elements in “Lady in Red” for Harper’s Bazaar, December 2017. Photograph by Mariano Vivanco.

    “The floating city. Dress, Prada. Earrings and ring, Buccellati. Tights, Wolford. Shoes, Rochas. Mensware: Suit, Tom Ford.” 

  15. Sappho recalled to life by the charm of music (1828). Merry-Joseph Blondel (French, 1781-1853). Oil.

    Blondel’s classicizing style demonstrates a degree of originality in the dramatic, almost theatrical effects of both light and gestures. The elegant and highly finished work shows the poetess stirring from the deep melancholy that befell her after she was abandoned by her lover Phaon. Interest in the Greek poetess Sappho was high in the early 19th century.