Press Release

Back and Forth: Rozeal., Titian, Cezanne 

A woman sitting on a floor with her body angled to our left nearly fills this stylized, vertical painting. Her skin is light tan in some areas, as around her eyes, chest, one hand, and the leg and foot we can see, while what seems like brown paint creeps up her neck to drip upward around her cheeks and onto her forehead. The brown also drips down onto her cleavage, along one arm toward her wrist, and down the shin of her leg. Her right hand, on our left, is entirely brown. She holds her long hair up over her head with her brown hand in front of her face, looking at it with blue eyes and touching it with the other hand. Her hair is blond with dark roots at her scalp, created with long, parallel brushstrokes. Her long nails and curling lips are scarlet red. She wears an emerald-green robe trimmed with white fur and a long strand of pearls that drape over her left arm, closer to us. She sits on a cushion decorated with brown koi fish and stylized blue waves of water, but the exact arrangement of her legs is unclear. A stack of patterned pillows is piled behind her to our left, and comes up to her shoulder. Red circular forms behind her head are painted slate blue with deep brown shadows and red highlights. The words “BACK AND FORTH” are repeated in rows, written in capital yellow letters edged with red, filling the background. Two Japanese characters are painted in red near the lower right corner.

Rozeal. (formerly known as iona rozeal brown) 
afro.died, T., 2011 
acrylic, pen, ink, marker, and graphite on birch plywood panel 
overall: 152.4 x 121.92 cm (60 x 48 in.) 
National Gallery of Art, Corcoran Collection (Museum Purchase with funds provided by the Women's Committee of the Corcoran Gallery of Art) 
2015.19.243 

Laurie Tylec

[email protected]

(202) 842-6355

April 26, 2025–April 26, 2026 

Back and Forth: Rozeal., Titian, Cezanne brings together four major works spanning centuries and continents to reveal how artists remix and reinterpret the conventions of portraiture and allegory as well as contemporary culture. Featuring works from the permanent collection of the National Gallery of Art—afro.died, T. (2011) by contemporary artist Rozeal., Titian’s Venus with a Mirror (c. 1555) and Ranuccio Farnese (1541–1542), and Paul Cezanne’s Boy in a Red Waistcoat (1888–1890)—this exhibition considers how artists construct meaning through focused pairings examining Gaze, Space, Pose, and Subject.  

The phrase “back and forth”— which is repeated in the background of Rozeal.’s afro.died, T., inspired in part by the lyrics of Willow Smith’s 2010 hit, “Whip My Hair” — evokes a shifting dialogue between centuries and styles. It encourages close looking and offers an opportunity to see how each artist engaged with and transformed artistic traditions. Each pairing opens a thematic lens that breaks down boundaries between old and new, and portrait and allegory.

Gaze pairs Titian’s Venus with a Mirror, which represents the ideal of beauty in the Italian Renaissance, with Rozeal.’s afro.died, T., which challenges and plays with notions of beauty, culture, and race through the present. Both paintings evoke the Greco-Roman goddess of beauty (Venus and Aphrodite) while the pairing questions how ideals vary for women from different cultural backgrounds. Space showcases how Rozeal. and Cezanne construct disorienting yet intimate interiors that blur abstraction and realism.  

Pose juxtaposes Cezanne’s Boy in a Red Waistcoat with Titian’s Ranuccio Farnese. With their strikingly similar contrapposto stances, each portrait projects a confidence that belies youthful fragility and innocence. Subject pairs both works by Titian to encourage reflection on how the artist depicted surface and psychology when painting an allegory or a portrait.

Back and Forth offers insight into how artists make choices—about composition, gesture, and detail—to construct meaning, while also revealing how these works illuminate and complicate one another when seen together.

The exhibition is organized by the National Gallery of Art, Washington.  

The exhibition is curated by Molly Donovan, curator of contemporary art and acting head of modern and contemporary art; Eve Straussman-Pflanzer, curator and head of the department of Italian and Spanish paintings; and Aaron Wile, associate curator in the department of French paintings, all of the National Gallery of Art.  

Press Kit

Contact Information

You may also like

Richard Avedon, "Tom Stroud, oil field worker, Velma, Oklahoma, June 12, 1980", 1980

Press Release:  Beneath the Surface: Mining and American Photography

Press Release:  National Gallery of Art, Washington, and National Gallery of Victoria, Australia, Collaborate on Global Cultural Exchange

Washington, DC—Today, the National Gallery of Art, Washington, and the National Gallery of Victoria (NGV) in Australia announce a cultural partnership that will facilitate the global exchange of key works from the permanent collections of both leading arts institutions. This collaborative effort creates new opportunities for global audiences to experience defining works of art that reflect these respective cultures.