Provenance

Paul P. Rosenberg & Co.

est. 1878

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The artwork depicts a nude figure seated in a relaxed pose. The figure has short, wavy hair and is portrayed with a calm expression. The body is shaded in tones of brown and black, with one arm resting on a support and the other draped over the lap. The background is minimal, with subtle shading. The signature "G. Braque 22" is visible in the lower right corner.
Georges Braque, Large Nude, 1927, brown chalk and stumping on wove paper laid down on canvas, Woodner Collection, 2000.25.1

Large Nude

Georges Braque · 1927 · brown chalk and stumping on wove paper laid down on canvas ·  Accession ID  2000.25.1

Shown from the chest up, a young woman with peach-colored skin standing angled to our left takes up right two-thirds of this vertical portrait painting. Her blond hair is accentuated with strokes of tawny brown and gathered at the back of her head. A long tendril cascades down her back. She is lit from the upper left, which casts the back of her head in shadow. Her eyes are downcast, and her long nose and small mouth are set in a round face. She wears an almost sheer white, sleeveless dress with a low scooped neckline. A background painted with long streaks of fawn brown and tan fills the space behind her. The artist signed and dated in the upper right, “Picasso 22.”
Pablo Picasso, Classical Head, 1922, oil on canvas, Chester Dale Collection, 1963.10.189

Classical Head

Pablo Picasso · 1922 · oil on canvas ·  Accession ID  1963.10.189

This drawing depicts a man from the waist up, seated in a forward-facing position. The man has prominent facial features, including a strong nose and thick eyebrows. His hair is medium in length and slightly wavy, with a full beard and mustache. He is wearing a jacket over a shirt. The drawing is done in ink on a brown-toned paper. The background is plain. The artwork is framed by a simple outline, and there's a signature in the lower right corner of the drawing, with the name "H. Rousseau" inscribed below the image on the paper.
Henri Rousseau, Self-Portrait, 1895, pen and brown ink on brown wove paper, Collection of Mr. and Mrs. Paul Mellon, 1995.47.66

Self-Portrait

Henri Rousseau · 1895 · pen and brown ink on brown wove paper ·  Accession ID  1995.47.66

A young girl with pale skin and long brown hair looks at us as she braces a tall, wooden hoop with one hand by her hip in this vertical painting. The girl stands close to us with her body angled to our right, and she looks at us from the corners of her dark blue eyes. Her delicate nose, rosy cheeks, and closed, rose-pink lips are set in a heart-shaped face. She has wavy, chestnut-brown hair that falls loosely around her shoulders. Bangs brush across her forehead, and her hair is pulled back in half, tied in a pale blue ribbon. She wears a sky-blue dress with a ruffle around the wide collar. The long sleeves are rolled back over her wrists, and the dress is tied at the waist with an aquamarine-blue sash tied into a bow at her lower back. The knee-length skirt flares out from the waist. She wears ice-blue socks pulled halfway up her shins and black, low-heeled Mary Jane-style shoes tied with bows over the arches. One foot turns to rest on the bottom edge of the wooden hoop she braces with her left hand, farther from us. She holds a short stick by her side with the other hand. The ground around her is painted with blended areas of muted topaz blue, peach, and canary yellow. The top third of the background is a loosely painted garden, with lime and spring-green leaves, and a cluster of shell-pink flowers to our right. The artist signed and dated the painting in the lower left corner, “Renoir. 85.”
Auguste Renoir, Girl with a Hoop, 1885, oil on canvas, Chester Dale Collection, 1963.10.58

Girl with a Hoop

Auguste Renoir · 1885 · oil on canvas ·  Accession ID  1963.10.58

The sculpture is a bas-relief of multiple human figures engaged in various activities in an outdoor setting. The figures are mostly nude and the scene includes trees and architectural elements resembling classical design such as columns. The material appears to be metallic, likely bronze, with a lustrous appearance and various gradations of brown and metallic sheen. The sculpture is flat at the back and projects outwards, creating a three-dimensional effect. The composition is detailed and captures movement and interactions among the figures in a complex narrative scene.
Guglielmo della Porta, Vulcan Capturing Mars and Venus, c. 1553/1555, bronze relief, Pepita Milmore Memorial Fund, 1987.9.2

Vulcan Capturing Mars and Venus

Guglielmo della Porta · c. 1553/1555 · bronze relief ·  Accession ID  1987.9.2

Shown from the thighs up, a woman faces our left in profile as she lifts up one hand and holds a closed fan in the other in this vertical painting. The woman has pale, peachy skin, and her dark hair is tied with a pink bow at the back of her crown. She looks to our left with heavy-lidded eyes. She has a delicately pointed nose, and her lips are closed. Her electric-blue, long-sleeved shirt is tight fitting and has a scooped neck. A blue cloth ties around her waist and falls over a brown skirt. One knee juts forward. Her right hand, farther from us, is held face-high with the palm facing away. The fan is held out in the other hand in front of the woman’s waist. The background is streaked with smoky blue and gray. The artist signed and dated the lower right corner, “Picasso 1905.”
Pablo Picasso, Lady with a Fan, 1905, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.19

Lady with a Fan

Pablo Picasso · 1905 · oil on canvas ·  Accession ID  1972.9.19

Shown from the hips up, a person with flint blue-colored skin sits in front of geometric shapes filled with flat color in this stylized, vertical painting. The woman’s hair lies across the top of her head, and she has almond-shaped eyes, a long, straight, wide nose, and her thin lips are closed. Her face and shoulders square toward us, and she holds the handle of an oval mirror so the red back side faces us over one bare breast. The surface of her skin is shaded dark around the edges so the curves appear polished or even metallic. White and gray material, presumably fabric, bunches in her lap. Her torso is framed by a slightly irregular tall white rectangle outlined in white. The upper left corner and the bottom zone of the background are canary yellow and the other areas black. The artist signed the painting in the lower right corner, “F. LEGER. 29.”
Fernand Léger, Woman with a Mirror, 1929, oil on canvas, Chester Dale Collection, 1963.10.159

Woman with a Mirror

Fernand Léger · 1929 · oil on canvas ·  Accession ID  1963.10.159

The sculpture depicts a detailed, multi-figure scene with several human forms in a dynamic setting. The figures are engaged in fluid motion, possibly interacting with nature. The material is bronze with a dark, metallic sheen and rich texture. The design is a high-relief artwork with figures protruding prominently from the background. The sculpture is octagonal in shape.
Guglielmo della Porta, Diana and Callisto, c. 1553/1555, bronze relief, Pepita Milmore Memorial Fund, 1987.9.3

Diana and Callisto

Guglielmo della Porta · c. 1553/1555 · bronze relief ·  Accession ID  1987.9.3

This painting depicts a woman standing in profile, facing the right. She has light skin, dark hair styled in a low bun, rosy cheeks, and pink lips, and she is wearing a white off-the-shoulder blouse and a red skirt. She holds a large woven basket filled with gray-and-orange fish and is resting it on her hip. The background shows a beach-like landscape with a vast blue sky over tan dunes with hints of orange and pink. The brushstrokes in the painting are thick and visible.
Auguste Renoir, Girl with a Basket of Fish, c. 1889, oil on canvas, Gift of William Robertson Coe, 1956.4.1

Girl with a Basket of Fish

Auguste Renoir · c. 1889 · oil on canvas ·  Accession ID  1956.4.1

Painted entirely in shades of blue, this vertical scene shows a woman, an elderly man, and a young child standing close to each other near the edge of gently lapping waves. All three people have gray complexions tinged with blue, are barefoot, and their features, clothing, and bodies are outlined. To our left, the woman’s back is to us, and her face is turned in profile to our right as she looks down at the ground. Her navy-blue, nearly black hair is pulled up in a loose bun. She wears a deep ocean-blue shawl over a long skirt that covers her entire body except for bare toes peeking out under the hem. The form of the shawl protrudes a bit on the right as if she holds her arm across her body. The slightly taller man stands across from her to our right with his body mirroring the woman’s. He crosses his arms tightly across his chest as he gazes down in profile. The eye we can see is deeply shadowed, and his hands are tucked into his elbows. He has a beard and short, dark hair with streaks of sky blue. His long, marine-blue shirt blends into his pants, which are cut off at the ankles. Unlike the woman, he stands with the weight on one foot, the other knee bent. To our right and in front of the man, the child stands facing our left in profile. He has short, dark hair, and he looks toward the woman. He touches or gestures near the man’s thigh with his right hand, farther from us, and holds his other out in front of his waist. His shawl has a reddish tint, which contrasts with his ankle-length, stone-blue pants. The trio stands on aquamarine-tinted sand before gentle waves along a shoreline. In the top third of painting, the sky is a block of celestial blue. The artist signed his name, “Picasso,” in a dark blue in the lower right corner and dated the painting, “1903” in the upper right.
Pablo Picasso, The Tragedy, 1903, oil on wood, Chester Dale Collection, 1963.10.196

The Tragedy

Pablo Picasso · 1903 · oil on wood ·  Accession ID  1963.10.196