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MFA Images: Nudes

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  • Nude Study of Thomas E. McKeller

    about 1917–20
    John Singer Sargent (American, 1856–1925)

    Description

    Provenance

    The artist; to estate of the artist; to Richard W. Hale, Boston, by 1929; on loan to MFA 1929-1932; to William James, by 1932; to David McKibben, Boston; to Donald Kelly, Boston, by 1978; with Alfred J. Walker Fine Art, Boston, by 1986; to MFA, 1986, purchase.

    Credit Line

    Henry H. and Zoe Oliver Sherman Fund

    Details

    Dimensions

    125.73 x 84.45 cm (49 1/2 x 33 1/4 in.)

    Accession Number

    1986.60

    Medium or Technique

    Oil on canvas

    On View

    Ruth and Carl J. Shapiro Gallery (Gallery 232)

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Nude

    1920
    Charles Sheeler (American, 1883–1965)

    Description

    Inscription

    Upper right: Sheeler/1920

    Provenance

    James Maroney, NY, from whom purchased Dec. 1986

    Credit Line

    M. and M. Karolik Fund

    Details

    Dimensions

    Overall: 11.5 x 15.2cm (4 1/2 x 6 in.) Framed: 40.6 x 51.1 cm (16 x 20 1/8 in.)

    Accession Number

    1986.746

    Medium or Technique

    Graphite pencil on paper

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Drawings

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  • Model shrine with nude goddess

    Eastern Mediterranean
    6th–3rd century B.C.

    Description

    The plaque is a mixture of Mediterranean/Near Eastern styles that characterize Phoenician art. It represents the ancient Canaanite goddess Astarte, shown nude like the Mesopotamian Ishtar, but with an Egyptian face and wig. She stands within a shrine protected by typically Near Eastern snarling lions that support Egyptian columns surmounted by heads of the Egyptian god Bes.

    Provenance

    By date unknown: private collection, Netherlands according to an invoice from Royal-Athena Galleries; by 1988: purchased from a private collection, Netherlands by Royal-Athena Galleries (Art of the Ancient World, vol. V, pt. II, no. 127); purchased from Royal-Athena Galleries by MFA with funds provided by Alan M. and Marcia May, December 12, 1990

    Credit Line

    Gift of Alan M. and Marcia May

    Details

    Dimensions

    Height x width: 26 x 14.3 cm (10 1/4 x 5 5/8 in.) Base: 6 1/2 x 3" Depth w/ Mount: 4"

    Accession Number

    1990.605

    Medium or Technique

    Terracotta

    On View

    Ancient Near East Gallery (Gallery 110)

    Collections

    Europe, The Ancient World

    Classifications

    Sculpture

    More Info
  • Untitled (Nude)

    Nude in Corner behind Disk

    about 1927
    Frantisek Drtikol (Czechoslovakian, 1883–1961)

    Description

    Frantisek Drtikol’s photographs of the nude body illustrate the ongoing influence of contemporary art movements on photographic creation. Drtikol, who in his youth had been inspired by Art Nouveau, had embraced Art Deco ideals by the 1920s. This photograph represents his movement toward abstraction in his depiction of the nude model. He began, he stated, to “use the body as a decorative object, positioning it in various settings and lights.” Employing a simple disk as a prop, the artist layered violent contrasts of light and shadow like a collage. The model becomes simply another element in the geometric composition, her body distorted by deep shadows created with dramatic, harsh lighting.

    Inscription

    Inscr. graphite verso "RK 1182-2 UTCH3"

    Provenance

    Rudolf Kicken Galerie, Koln, Germany; purchased September 1984.

    Credit Line

    Sophie M. Friedman Fund

    Copyright

    © Ružena Knotková-Boková

    Details

    Dimensions

    Image/Sheet: 27.6 x 22.5 cm (10 7/8 x 8 7/8 in.)

    Accession Number

    1984.420

    Medium or Technique

    Photograph, carbon print

    Not On View

    Collections

    Europe, Photography

    Classifications

    Photographs

    More Info
  • Reclining Nude

    1980
    William Thomson (Canadian, 1926–1988 Canadian)

    Description

    Provenance

    The artist; to MFA, Boston, 1981

    Credit Line

    Sophie M. Friedman Fund

    Copyright

    © 2011 Artists Rights Society (ARS), New York / DACS, London

    Details

    Dimensions

    66 x 81.3 cm (26 x 32 in.)

    Accession Number

    1981.27

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Americas, Contemporary Art

    Classifications

    Paintings

    More Info
  • Seated Nude, Leg Raised

    1968
    Richard Diebenkorn (American, 1922–1993)

    Description

    Inscription

    L.l. in graphite: RD 68

    Provenance

    Marlborough Gallery, Inc., New York; John Berggruen Gallery, San Francisco, CA; 1975, sold by the Berggruen Gallery to the MFA. (Accession Date: November 12, 1975)

    Credit Line

    Sophie M. Friedman Fund

    Copyright

    © Estate of Richard Diebenkorn

    Details

    Dimensions

    Sheet: 34.9 x 43.2 cm (13 3/4 x 17 in.)

    Accession Number

    1975.667

    Medium or Technique

    Black crayon on paper

    Not On View

    Collections

    Americas, Contemporary Art, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Untitled (Solarized Nude) (The Primacy of Matter over Thought)

    1932
    Man Ray (American, 1890–1976)

    Description

    Man Ray was a modernist photographer whose works are characterized by an inventive exploration of new techniques and visual effects. Born in Philadelphia and trained as a painter, he arrived in Paris in 1921 and became a member of the Surrealist circle of artists there. He took up fashion and portrait photography as a way to make a living and began to experiment with a variety of processes, including solarization-a partial reversal of tone within a print, most visible at the edges of forms, caused by momentary exposure to light during the course of normal darkroom development. Solarization was an ideal technique to capture this mysterious and hallucinatory image of the Surrealist painter and sculptor Meret Oppenheim; the glowing dark aura surrounding her head transforms her into a disembodied, dreamlike figure.

    Inscription

    Upper left in pencil: Man Ray. On verso in pencil: MR/1929.

    Provenance

    Man Ray Estate; Roberta Kimmel, New York; private collection, New York; purchased June 18,1980

    Credit Line

    Graham Gund Photography Fund

    Copyright

    © 2011 Man Ray Trust / Artists Rights Society (ARS), New York / ADAGP, Paris

    Details

    Dimensions

    Image/Sheet: 29.7 x 23.1 cm (11 11/16 x 9 1/8 in.)

    Accession Number

    1980.213

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

    More Info
  • Male Nude with Tumbleweed, Paradise Cove

    1986
    Artist Herb Ritts (American, 1952–2002)

    Place Depicted, Paradise Cove, United States

    Description

    Inscription

    Sheet, verso, l.l. in graphite: MALE NUDE WITH TUMBLEWEED, PARADISE COVE, 1986 Sheet, verso, b.c. in graphite: Herb Ritts Sheet, verso, l.r. in graphite: ed 10/25 Sheet, verso, t.c. stamped in ink: Herb Ritts "WORK" exhibition/Museum of Fine Arts, Boston/October 22, 1996-February 9, 1997

    Provenance

    The artist; gift to MFA, September 20, 2000.

    Credit Line

    Gift of Herb Ritts

    Copyright

    © Herb Ritts Foundation

    Details

    Dimensions

    Image: 57.4 x 45.9 cm (22 5/8 x 18 1/16 in.) Sheet (irregular): 66.6 x 56 cm (26 1/4 x 22 1/16 in.)

    Accession Number

    2000.880

    Medium or Technique

    Photograph, platinum print

    Not On View

    Collections

    Americas, Contemporary Art, Photography

    Classifications

    Photographs

    More Info
  • Untitled (Five Nudes)

    1967
    Artist Lester Johnson (American, 1919–2010)

    Description

    The central figures in Untitled (Five Nudes) are modeled on the Three Graces, a well known Classical sculpture dating to the 3rd-Century B.C. Lester Johnson takes advantage of the painterly qualities of lithography to imbue his figures with sensuality. The print retains the immediacy of an impromptu sketch.

    Inscription

    Recto lower left in graphite pencil: 7/15 Verso lower left in graphite pencil: 54

    Signed

    Recto lower right in graphite pencil: Lester Johnson

    Provenance

    The artist directly to Albert Merola Gallery (Universal Fine Objects), Provincetown, MA; purchased by MFA, September 2001.

    Credit Line

    Lee M. Friedman Fund

    Copyright

    Reproduced with permission. Courtesy, Albert Merola Gallery.

    Details

    Catalogue Raisonné

    Balla 59

    Dimensions

    57 x 76 cm (22 7/16 x 29 15/16 in.)

    Accession Number

    2001.553

    Medium or Technique

    Lithograph on Arches wove paper

    Not On View

    Collections

    Americas, Contemporary Art, Prints and Drawings

    Classifications

    Prints

    More Info
  • Female Nude by the Sea (from an unidentified series)

    Japanese
    Late Meiji era
    Artist Unknown, Japanese, Printer S. Nishigaki (Japanese)

    Place of Creation, Japan

    Description

    Provenance

    Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.19161

    Medium or Technique

    Color lithograph; ink on card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • Female Nude at the Bath (from an unidentified series)

    Japanese
    Late Meiji era
    Artist Unknown, Japanese, Printer S. Nishigaki (Japanese)

    Place of Creation, Japan

    Description

    Provenance

    Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.19162

    Medium or Technique

    Color lithograph; ink on card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • Female Nude

    Japanese
    Artist Unknown, Japanese

    Place of Creation, Japan

    Description

    Provenance

    Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.12449

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • Female Nude

    Japanese
    Late Meiji era
    Artist Unknown, Japanese

    Place of Creation, Japan

    Description

    Provenance

    Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.4447

    Medium or Technique

    Color lithograph; ink on card stock ?

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • Nude (Elizabeth Lynes)

    about 1953
    George Platt Lynes (American, 1907–1955)

    Description

    Inscription

    Verso, ctr, stamped in black ink: George Platt Lynes / 145 East 52 Street New York

    Provenance

    Estate of the artist: sold to Robert Miller Gallery, NY; sold to Charles Isaacs Photographs; sold to MFA January 2002

    Credit Line

    Sophie M. Friedman Fund

    Copyright

    © Estate of George Platt Lynes

    Details

    Dimensions

    Image/sheet: 19.1 x 23.5 cm (7 1/2 x 9 1/4 in.)

    Accession Number

    2002.4

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

    More Info
  • Female Nude Seated in Water

    Japanese
    Late Meiji era
    1906
    Ichijô Narumi (Japanese, 1877–1910 Japanese), Publisher Japanese Postcard Club (Nihon hagaki kurabu) (Japanese)

    Place of Creation, Japan

    Description

    Provenance

    Ex. Jaeger Collection Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.935

    Medium or Technique

    Color lithograph; ink on card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • Nude

    1935
    Edward Weston (American, 1886–1958)

    Description

    Inscription

    On verso, in pencil: W 80/220/N/ Edward Weston, Nude 1938, Bk. 3, No. 22/220 N.

    Provenance

    The Witkin Gallery, New York; purchased June 13,1973.

    Credit Line

    Gift of Robert Fields

    Details

    Dimensions

    Image: 20.1 x 24.7 cm (7 15/16 x 9 3/4 in.) Sheet: 20.5 x 25.4 cm (8 1/16 x 10 in.)

    Accession Number

    1973.303

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

    Collections

    Americas, Photography

    Classifications

    Photographs

    More Info
  • Study of a Nude Woman

    about 1905–06
    Pablo Picasso (Spanish (worked in France), 1881–1973)

    Description

    Inscription

    Pencil signature cut from sheet and separately mounted below drawing

    Provenance

    Stieglitz Gallery, 291, New York; John Laurent, Maine; acquired December 1970

    Credit Line

    John H. and Ernestine A. Payne Fund

    Copyright

    © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

    Details

    Catalogue Raisonné

    Not in Zervos

    Dimensions

    Sheet: 32.6 x 25.6 cm (12 13/16 x 10 1/16 in.)

    Accession Number

    1970.578

    Medium or Technique

    Pen and gray-brown ink on thin brown paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Sketch Page with Nude and Classical Heads

    August 3, 1931
    Pablo Picasso (Spanish (worked in France), 1881–1973)

    Description

    Inscription

    l.l. in brown ink: Juan les pins 3 Aout XXXI / Picasso

    Signed

    signed

    Provenance

    Purchased from Otto Wertheimer, 24 avenue Matignon, Paris, in June 1957

    Credit Line

    Arthur Mason Knapp Fund

    Copyright

    © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

    Details

    Catalogue Raisonné

    Not in Zervos

    Dimensions

    Overall: 32.6 x 25.7 cm (12 13/16 x 10 1/8 in.)

    Accession Number

    57.551

    Medium or Technique

    Pen and black ink on cream laid paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Standing Nude Woman (Te nave nave fenua) (Delightful Land)

    1894
    Paul Gauguin (French, 1848–1903)

    Description

    Provenance

    By 1929 William G. Russell Allen (1882-1955, Boston);his bequest, accessioned April 14, 1960

    Credit Line

    Bequest of W. G. Russell Allen

    Details

    Catalogue Raisonné

    Field 006; Brettell 179

    Dimensions

    Sheet: 40.5 x 24.2 cm (15 15/16 x 9 1/2 in.) Mount: 48.8 x 35.8 cm (19 3/16 x 14 1/8 in.)

    Accession Number

    60.368

    Medium or Technique

    Watercolor monotype selectively heightened with brush and watercolor on cream Asian paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Prints

    More Info
  • Reclining Nude (Nu Couché)

    1900–05
    Henri Matisse (French, 1869–1954)

    Description

    Inscription

    In pencil bottom right: Henri-Matisse.

    Provenance

    Galerie Gerald Cramer, Geneva, Switzerland; 1955, sold by Galerie Cramer to the MFA. (Accession Date: November 10, 1955)

    Credit Line

    William E. Nickerson Fund

    Copyright

    © 2011 Succession H. Matisse, Paris / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    Sheet: 21.3 x 32.3 cm (8 3/8 x 12 11/16 in. )

    Accession Number

    55.941

    Medium or Technique

    Black crayon on paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Nude figure of a woman bending right

    mid-20th century
    Alexander Archipenko (Russian, 1887–1964)

    Description

    Provenance

    Private collection, New York. 1951, gift of L. Aaron Lebowich (b. 1880), Boston, to the MFA. (Accession Date: April 12, 1951)

    Credit Line

    Gift of L. Aaron Lebowich

    Copyright

    © Estate of Alexander Archipenko / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    Sheet: 32.2 x 24.1 cm (12 11/16 x 9 1/2 in.)

    Accession Number

    51.645

    Medium or Technique

    Graphite pencil and red crayon

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Reclining Female Nude

    1763
    François Boucher (French, 1703–1770)

    Description

    Markings

    Lugt 2681a, at lower right of drawing sheet ( a small oval mark placed by the Hermitage in 1928 on objects that were disposed of at Boerner Leipzig 11-13 Nov. 1930.) A small Russian imperial crown mark on mount lower right.

    Provenance

    Sireuil, former valet de chambre of the King of France (cited on engraving by J. E. Nochez in 1763); Library of the Winter Palace, St. Petersburg (Lugt 2769 d); stamped for disposal by the Hermitage Museum, Leningrad, (Lugt Suppl. 2681 a) and sold at auction by Boerner, Leipzig, 29 April 1931, lot 30; Robert Treat Paine, 2nd (1861-1943, Boston); gift 14 October 1943.

    Credit Line

    Gift of Robert Treat Paine, 2nd

    Details

    Dimensions

    Sheet: 29 x 37.8cm (11 7/16 x 14 7/8in.) Framed: 50.2 x 58.4 cm (19 3/4 x 23 in.)

    Accession Number

    43.236

    Medium or Technique

    Black, red, and white chalk on tan (formerly blue-gray) laid paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

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  • Sheet of Studies with a Nude Man

    1893
    Lovis Corinth (German, 1858–1925 German)

    Description

    Signed

    Graphite lower left: "Lovis Corinth 1893"; monogram lower center "LC"

    Provenance

    1950, sold by Claude Schaefer (b. 1913), Montevideo, Uruguay, to Lessing Julius Rosenwald (b. 1891- d. 1979); 1950, gift of Lessing J. Rosenwald to the MFA. (Accession Date: October 10, 1950)

    Credit Line

    Gift of Lessing J. Rosenwald

    Details

    Dimensions

    Sheet (laid down): 46.7 x 31.5 cm (18 3/8 x 12 3/8 in.)

    Accession Number

    50.3397

    Medium or Technique

    Graphite on paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Two Young Women Naked on a Bed Album A, k (recto of l)

    1793–1796
    Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    Provenance

    1828, by inheritance from the artist to his son, Javier Goya y Bayeu (b. 1784–d. 1854), Madrid; 1854, to his son, Mariano Goya y Goicoechea (b. 1806–d. 1874), Madrid; about 1855–60, sold by Mariano Goya to Federico de Madrazo y Kuntz (b. 1815–d. 1894), Madrid; 1866, Scipione Vannutelli (b. 1834–d. 1894), Rome; by descent to the Clementi-Vannutelli family, Rome. Carlo Sestieri (dealer), Rome. 1963, Colnaghi and Co., London; 1963, sold by Colnaghi to the MFA.

    Credit Line

    Charles Hitchcock Tyler Residuary Fund

    Details

    Catalogue Raisonné

    GW 0366; Ga I 11

    Dimensions

    Sheet: 17.2 x 10.1 cm (6 3/4 x 4 in.)

    Accession Number

    63.985b

    Medium or Technique

    Brush and carbon black ink with wash and recent opaque white overpaint on discolored blued [smalt] white laid paper; pink paper border

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

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  • Nude Woman Reclining Against a Rock

    1824–25
    Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    Provenance

    Sir William Stirling Maxwell (b. 1818–d. 1878), Keir House, Scotland; 1878, by inheritance to his son, Brigadier General Archibald Stirling (b. 1867–d. 1931), Keir House; 1931 by inheritance to his son, Lieutenant Colonel William Joseph Stirling (b. 1911–d. 1983), Keir House; July 3, 1963, Lieutenant Colonel William Joseph Stirling sale, Sotheby’s, London, lot 64, to the MFA.

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Catalogue Raisonné

    GW 1688; Gu 0739

    Dimensions

    Overall: 8.7 x 8.6cm (3 7/16 x 3 3/8in.) Framed: 18.7 x 18.3 x 2 cm (7 3/8 x 7 3/16 x 13/16 in.)

    Accession Number

    63.1081

    Medium or Technique

    Brush and carbon black ink with wash and watercolor on ivory

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Watercolors

    More Info
  • Reclining Nude

    Japanese
    Taishô era
    early 20th century
    Artist Hashiguchi Goyô (Japanese, 1881–1921)

    Description

    Signed

    (seal only)

    Markings

    Artist's seal: Goyô

    Credit Line

    Helen S. Coolidge Fund

    Details

    Dimensions

    26.5 x 38 cm (10 7/16 x 14 15/16 in.)

    Accession Number

    1970.4

    Medium or Technique

    Graphite on paper

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Drawings

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  • Study of a Seated Nude

    undated
    Attributed to Amedeo Modigliani (Italian, 1884–1920 Italian)

    Description

    Inscription

    Signed in pencil, upper right: "Modigliani"

    Provenance

    John Laurent, Maine; acquired December 1970

    Credit Line

    John H. and Ernestine A. Payne Fund

    Details

    Catalogue Raisonné

    Macandrew 152

    Dimensions

    Sheet: 47.5 x 32.3 cm (18 11/16 x 12 11/16 in. )

    Accession Number

    1970.577

    Medium or Technique

    Pencil drawing on cream paper mounted

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

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  • Seated Nude in Profile

    1902–35
    Gaston Lachaise (American (born in France), 1882–1935)

    Description

    Inscription

    Signed lower right in pencil: G. Lachaise.

    Provenance

    Lachaise Foundation, MA; gift to MFA, November 9, 1966.

    Credit Line

    Gift of the Gaston Lachaise Foundation

    Copyright

    Reproduced with permission.

    Details

    Dimensions

    Sheet: 61.2 x 47.7 cm (24 1/8 x 18 3/4 in. )

    Accession Number

    66.945

    Medium or Technique

    Graphite pencil

    Not On View

    Collections

    Americas, Prints and Drawings

    Classifications

    Drawings

    More Info
  • Standing Nude Woman, Seen from Behind

    about 1913
    Henri Gaudier-Brzeska (French (active in Britain), 1891–1915)

    Description

    Provenance

    Kettle's Yard; acquired through H.S. Ede March 1966

    Credit Line

    Gift of The Kettle's Yard Collection

    Details

    Dimensions

    Sheet: 38.5 x 25.5 cm (15 3/16 x 10 1/16 in.)

    Accession Number

    66.215

    Medium or Technique

    Pen and blue ink

    Not On View

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    Europe, Prints and Drawings

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    Drawings

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  • Reclining Nude

    undated
    Copied after François Boucher (French, 1703–1770)

    Description

    Provenance

    [Rajat]; Georges de Batz and Co., New York; Forsyth Wickes (1876-1964, New York, Paris, Rhode Island) purchased August 1951; acquired by bequest 1965

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    29 x 43.5 cm (11 7/16 x 17 1/8 in.)

    Accession Number

    65.2537

    Medium or Technique

    Black and white chalk

    Not On View

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    Prints and Drawings

    Classifications

    Drawings

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  • Reclining Nude

    Nude girl sleeping

    1730s
    Ascribed to François Boucher (French, 1703–1770)

    Description

    Provenance

    Harcourt Family; Wildenstein & Co., London and New York; Forsyth Wickes (1876-1964, New York, Paris, Rhode Island) purchased 24 January 1949; acquired by bequest 1965

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    28.5 x 46.7 cm (11 1/4 x 18 3/8 in.)

    Accession Number

    65.2541

    Medium or Technique

    Red chalk with white chalk highlights on buff paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Drawings

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  • Female Nude by the Window (from an unidentified series)

    Japanese
    Late Meiji era
    Artist Unknown, Japanese

    Place of Creation, Japan

    Description

    Provenance

    Leonard A. Lauder Collection, Museum of Fine Arts, Boston, Fractional gift of Lauder (Accession date: March 20, 2002).

    Credit Line

    Leonard A. Lauder Collection of Japanese Postcards

    Details

    Dimensions

    Overall: 13.8 x 8.8 cm (5 7/16 x 3 7/16 in.)

    Accession Number

    2002.19163

    Medium or Technique

    Color lithograph; ink on card stock

    Not On View

    Collections

    Asia, Prints and Drawings

    Classifications

    Postcards

    More Info
  • Seated Nude

    1965
    Richard Diebenkorn (American, 1922–1993), Printed by Joseph Zirker (American, 20th century)

    Description

    Inscription

    In black ink: "38/100 RD 65"; blind stamp, l.r.: JZ [and Original Press monogram].

    Provenance

    Joseph Zirker, printer and publisher (part owner of Original Press, San Francisco); Charles M. Young, Connecticut; from whom purchased by MFA June 25, 2003

    Credit Line

    Lee M. Friedman Fund

    Copyright

    © Estate of Richard Diebenkorn

    Details

    Dimensions

    Sheet: 67 x 51.1 cm (26 3/8 x 20 1/8 in.)

    Accession Number

    2003.262

    Medium or Technique

    Lithograph

    Not On View

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    Americas, Contemporary Art, Prints and Drawings

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  • Young Women Resting in a Forest Clearing

    about 1841
    Narcisse Virgile Diaz de la Peña (French, 1807–1876)

    Description

    Inscription

    Lower left: N. Diaz

    Provenance

    Thomas Wigglesworth (b. 1814 - d. 1906 or 1907), Boston; by descent to his niece, Henrietta Goddard Wigglesworth (Mrs. W. Scott Fitz) (b. 1847 - d. 1927), Boston; by descent to her son, Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1941, gift of Edward Jackson Holmes to the MFA. (Accession Date: March 13, 1941)

    Credit Line

    Gift of Edward Jackson Holmes

    Details

    Dimensions

    29.8 x 45.7 cm (11 3/4 x 18 in.)

    Accession Number

    41.116

    Medium or Technique

    Oil on panel

    Not On View

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    Europe

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  • Women and a White Horse

    1903
    Paul Gauguin (French, 1848–1903)

    Description

    At the end of his life, immobilized by chronic syphilis and heart disease, Gauguin continued to paint the lush landscapes that surrounded his house on Hiva Oa, a Pacific island in the remote Marquesas chain. A Technicolor cascade of mountainside and tropical vegetation frames the frieze-like group of three native women and a white horse, an animal sometimes associated in the artist’s work with death or transcendence. On the hilltop above stands a single cross—a rare acknowledgment by Gauguin of French missionary activity in Polynesia. It marks the cemetery where the artist’s body was laid to rest shortly after he completed the painting.

    Inscription

    Lower right: P. Gaugin 1903

    Provenance

    Gustave Fayet (b. 1865 - d. 1925), Igny, France [see note 1]. 1906, acquired by Carl Moll (b. 1861 - d. 1945), Vienna [see note 2]; October 31, 1908, sold by Moll to Bernheim-Jeune et Fils, Paris (stock no. 16884) [see note 3]; September 14, 1909, sold by Bernheim-Jeune to Ambroise Vollard (b. 1867 - d. 1939), Paris; 1928, still with Vollard [see note 4]. 1929, Paul Rosenberg and Co., Paris and New York; October 24, 1929, sold by Rosenberg to John Taylor Spaulding (b. 1870 - d. 1948), Boston; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948) NOTES: [1] The early provenance (to 1909) is based on information provided by Georges Wildenstein, Gauguin (Paris, 1964), vol. 1, pp. 270-271, cat. no. 636. [2] The painter Carl Moll, who ran the Galerie Miethke in Vienna, wrote to Karl Ernst Osthaus on November 26, 1906 about a Gauguin landscape from 1903 that he had just acquired--almost certainly a reference to the MFA painting--as well as acquisitions he had made in Paris. Moll organized a Gauguin exhibition at the Galerie Miethke in the spring of 1907, but it cannot be determined from the checklist whether this painting was included. See Peter Kropmanns, "Peitschenhiebe statt Zuckerbrot. Zur frühen Gauguin-Rezeption in Wien," in Paul Gauguin: von der Bretagne nach Tahiti. Ein Aufbruch zur Moderne (Graz, 2000), pp. 133-135. [3] Wildenstein (as above, n. 1) does not make it explicit that Moll was the seller; however, at least one other painting by Gauguin that had belonged to Moll (Wildenstein, cat. no. 311) was acquired by Bernheim-Jeune on this date. [4] Vollard lent the painting to the exhibition "Paul Gauguin" (Kunsthalle, Basel, July-August, 1928), cat. no. 107.

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    73.3 x 91.7 cm (28 7/8 x 36 1/8 in.)

    Accession Number

    48.547

    Medium or Technique

    Oil on canvas

    On View

    Charlotte F. and Irving W. Rabb Gallery (Gallery 155)

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  • Time, Truth and History

    Sketch for Allegory on the Spanish Constitution, Nationalmuseum, Stockholm

    about 1797–99 or 1804
    Francisco Goya y Lucientes (Spanish, 1746–1828)

    Description

    A rough sketch from the early part of Goya’s career, this painting represents the winged Time, holding an hourglass, revealing naked Truth to the viewer. In the foreground, History records the event in her book, while looking over her shoulder in order to acknowledge the past. This composition was later used by Goya in a large-scale allegory relating to Spain’s liberation from Napoleonic rule. In that version, the figure of Truth is replaced by one that may represent the Spanish nation, and the threatening bats and owls lurking overhead have disappeared.

    Provenance

    Given by the artist to Juan Carnicero, Madrid [see note 1]. About 1875, Alejandro de Coupigny, Madrid [see note 1]. 1918, purchased in Madrid by Ralph W. Curtis for Horatio Greenough Curtis, Boston [see note 2]; by descent to his wife, Mrs. Horatio Greenough Curtis; 1927, gift of Mrs. Horatio Greenough Curtis to the MFA. (Accession Date: July 21, 1927) NOTES: [1] The sketch was first published in "El grabador al aguafuerte," Colección de obras originales y copias de las selectas de autores españoles (Madrid, 1875), vol. 2, pl. 21 (etching after the original painting), as in the possession of Alejandro de Coupigny. It is said to have been given by the artist to Juan Carñicero, librarian of the king. [2] According to a signed note by Horatio G. Curtis (in the MFA curatorial file). A letter written on stationery of the Senate of Spain and signed "R" (March 16, 1916; in the MFA curatorial file) mentions seeing the sketch, though in whose possession it was at that time is not documented.

    Credit Line

    Gift of Mrs. Horatio Greenough Curtis in memory of Horatio Greenough Curtis

    Details

    Catalogue Raisonné

    G&W 696; Gu 482

    Dimensions

    41.6 x 32.7 cm (16 3/8 x 12 7/8 in.)

    Accession Number

    27.1330

    Medium or Technique

    Oil on canvas

    Not On View

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  • Academic Nude Study (Female)

    about 1870
    Gaudenzio Marconi (Italian, 1842–after 1885 Italian)

    Description

    Inscription

    L. R., stratched in negative: 131

    Provenance

    From an album of Marconi photographs; Charles Isaacs, Malvern, PA; purchased September 1996.

    Credit Line

    Gift of Jessie H. Wilkinson—Jessie H. Wilkinson Fund

    Details

    Dimensions

    Image/Sheet: 26.5 x 15.2 cm (10 7/16 x 6 in.) Mount: 47 x 32 cm (18 1/2 x 12 5/8 in.)

    Accession Number

    1996.202

    Medium or Technique

    Photograph, albumen print

    Not On View

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    Europe, Photography

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    Photographs

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  • Eight Bathers

    about 1918–23
    Maurice Brazil Prendergast (American (born in Canada), 1858–1924)

    Description

    Throughout his career, Prendergast painted idyllic scenes of ordinary people enjoying themselves in parks, boulevards, and ocean resorts. He became aware of contemporary art movements during six sojourns in Europe, and was one of the most avant-garde painters working in America during the early 1900s. In this tapestry-like late oil, Prendergast painted a timeless Arcadian vision with a modernist vocabulary - simplified, outlined figures, visible brushstrokes, and flat, bold patterning.

    Inscription

    Lower center: Prendergast

    Provenance

    The artist; Mrs. Charles Prendergast, the artist's sister-in-law, Westport, Conn.; to MFA, 1961, purchase.

    Credit Line

    A. Shuman Collection—Abraham Shuman Fund

    Details

    Dimensions

    71.12 x 61.59 cm (28 x 24 1/4 in.)

    Accession Number

    61.663

    Medium or Technique

    Oil on canvas

    Not On View

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    Americas

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  • American Beauties

    1867
    Jerome B. Thompson (American, 1814–1886 American)

    Description

    Inscription

    Lower left: Jerome Thompsn/1867

    Provenance

    The artist; with Victor Spark, New York; with Paul Magriel, New York, 1958; to Madeleine Thompson Edmonds, Northampton, Mass., 1958; to MFA, 1986, gift of Madeleine Thompson Edmonds.

    Credit Line

    Gift of Madeleine Thompson Edmonds

    Details

    Dimensions

    42.86 x 60.32 cm (16 7/8 x 23 3/4 in.)

    Accession Number

    1986.400

    Medium or Technique

    Oil on canvas

    Not On View

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  • Randolph, New Hampshire

    1915
    William Zorach (American (born in Lithuania), 1889–1966)

    Description

    Marguerite and William Zorach spent the winter seasons in New York City, soaking up the avant-garde ideas in the paintings and sculpture shown at Alfred Stieglitz’s 291 gallery and elsewhere while seeking exhibition opportunities for their own art. The warm months were for rejuvenation; between 1915 and 1918, the Zorachs spent several summers in New Hampshire. Although each of them would later specialize in other media (Marguerite became well known as a textile artist and William became one of the leading sculptors of the modernist generation), during this period they were both active as painters. Their styles, based on their experiences as art students in Paris a few years earlier, combined the vivid palette of Fauvism with Cubist compositional structure. Each of them turned to the landscape of the surrounding White Mountains as subject matter. In this case, their responses are found on either side of a single canvas: on the back of Marguerite’s 1917 “Whippoorwills” is William’s “Randolph, New Hampshire,” painted two years before.

    It is not known why the Zorachs chose to paint on both sides of a single piece of canvas. They were extremely poor in those years and may have been driven to work in this unusual manner for reasons of economy. But the double-sided canvas is also an expression of the collaborative spirit that marked their careers, and their marriage. They frequently had joint exhibitions; Marguerite drew embroidery motifs from images in William’s paintings, while he based sculptural elements on her needlework designs; and a number of Marguerite’s embroidered pictures were worked on (and signed) by both of them.

    Both sides of this painting reflect the Zorachs’ pleasure in their summers in New Hampshire, where they lived rent- and relatively care- free in handsomely sited if dilapidated farmhouses that were loaned to them by generous patrons. William presented New Hampshire as Arcadia, with sensuous, Matisse-like nudes lounging in a bucolic landscape. He uses bold, bright colors reminiscent of French Fauvism. Marguerite’s response to their surroundings was much more direct (MFA 1993.867b).The rolling hills, leafy woodlands, little waterfalls, and houses nestled in the valleys shown here are an accurate portrayal of the cozy landscape near Plainfield, New Hampshire, where they lived in 1917. The warm earth tones emphasize the organic quality of her picture. She molds the hills and trees into flat, decorative shapes, creating a tapestry-like pattern. Her technique also resonates with her work in textiles, for she paints thinly so that the canvas weave creates a background texture for her design. At the same time, she is a keen observer of nature: she accurately portrays the whippoorwills as having short rounded wings and rounded tails. Nocturnal birds, they soar by on the surface of the picture, beneath a crescent moon.

    This text was adapted from Davis, et al., MFA Highlights: American Painting (Boston, 2003) available at www.mfashop.com/mfa-publications.html.

    Inscription

    Lower right: WM ZORACH/—1915

    Provenance

    The artist; private collection, New England; with William Doyle Galleries, New York, European and American Paintings and Sculpture, November 17, 1993, lot 55; to MFA, 1993, purchase.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    Courtesy Zabriskie Gallery, New York

    Details

    Dimensions

    50.8 x 60.64 cm (20 x 23 7/8 in.)

    Accession Number

    1993.867a

    Medium or Technique

    le Oil on canvas

    Not On View

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  • The Temptation and Fall of Eve (Illustration to Milton's "Paradise Lost")

    1808
    William Blake (English, 1757–1827)

    Description

    Provenance

    Thomas Butts (1757-1845), England; Thomas Butts, Jr., sold 29 June 1853, Foster's (in 139 with No. 536 4, 9, 11, and 12) £17.66 bt. J.C. Strange; B. Quartich, Boston offered catalogue 350 10 August 1883, May 1887, etc. (in 13842 with 32 others; see No. 84) £1,200; acquired 29 April 1890

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Catalogue Raisonné

    Butlin 536 (9)

    Dimensions

    49.7 x 38.7 cm (19 9/16 x 15 1/4 in.)

    Accession Number

    90.99

    Medium or Technique

    Pen and watercolor on paper

    Not On View

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  • Richard

    1979
    R. B. Kitaj (American, 1932–2007 American)

    Description

    Provenance

    Melvin N. Blake (1927–1999) and Frank M. Purnell (1930–1994), New York; gift of the estate of Melvin Blake to MFA, Boston, 22 January 2003

    Credit Line

    Melvin Blake and Frank Purnell Collection

    Copyright

    © R.B. Kitaj, courtesy, Marlborough Gallery, New York

    Details

    Dimensions

    Sight: 76.8 x 55.9 cm (30 1/4 x 22 in.) Framed: 104.1 x 83.2 cm (41 x 32 3/4 in.)

    Accession Number

    2003.11

    Medium or Technique

    Pastel and charcoal on paper

    Not On View

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  • Study of a Seated Nude

    Aleksandr Yevgeniyevich Yakovlev (Russian (active in France), 1887–1938)

    Description

    Provenance

    By late 1930s, from the artist to Vose Galleries, Providence, RI, and Boston, MA . By 1959, Leo Wassermen; 1959, by inheritance to Mr. and Mrs. David R. Pokross, Belmont, MA; 1984, gift of Pokross. (Accession Date: January 16, 1985)

    Credit Line

    Gift of Mr. and Mrs. David R. Pokross

    Details

    Dimensions

    88.9 x 68.58 cm (35 x 27 in.)

    Accession Number

    1984.979

    Medium or Technique

    Oil on pressed-wood board

    Not On View

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  • Henri Matisse and his model

    1939
    Brassaï (Gyula Halasz) (French (born in Hungary), 1899–1984)

    Description

    Inscription

    Lower margin in ink: "17/30/Brassai." Photographer's stamps on verso.

    Provenance

    Phoenix Gallery/Edition, San Francisco, CA; purchased October 13, 1976.

    Credit Line

    Gift of Jessie H. Wilkinson—Jessie H. Wilkinson Fund

    Copyright

    Photograph by Brassaï. © Gilberte Brassaï.

    Details

    Dimensions

    Image: 23.18 x 27.94 cm (9 1/8 x 11 in.)

    Accession Number

    1976.726

    Medium or Technique

    Photograph, gelatin silver print

    Not On View

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    Europe, Photography

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  • Figure (Study for or after "Red Stone Dancer")

    1913–14
    Henri Gaudier-Brzeska (French (active in Britain), 1891–1915)

    Description

    Provenance

    Kettle's Yard; acquired through H.S. Ede March 1966

    Credit Line

    Gift of The Kettle's Yard Collection

    Details

    Dimensions

    Sheet: 20.7 x 14 cm (8 1/8 x 5 1/2 in.)

    Accession Number

    66.219

    Medium or Technique

    Green wash

    Not On View

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  • The Archangel Raphael with Adam and Eve (Illustration to Milton's "Paradise Lost")

    1808
    William Blake (English, 1757–1827)

    Description

    Inscription

    Signed lower right: W Blake 1808

    Provenance

    Thomas Butts (1757-1845), England; Thomas Butts, Jr., sold 29 June 1853, Foster's (in 139 with No. 536 4, 9, 11, and 12) £17.66 bt. J.C. Strange; B. Quartich, Boston, offered catalogue 350 10 August 1883, May 1887, etc. (in 13842 with 32 others; see No. 84) £1,200; acquired 29 April 1890

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Catalogue Raisonné

    Butlin 536(6)

    Dimensions

    49.8 x 39.8 cm (19 5/8 x 15 11/16 in.)

    Accession Number

    90.97

    Medium or Technique

    Pen and watercolor on paper

    Not On View

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  • Satan Watching the Caresses of Adam and Eve (Illustration to Milton's "Paradise Lost")

    1808
    William Blake (English, 1757–1827)

    Description

    Inscription

    Signed lower right: W Blake 1808

    Provenance

    Thomas Butts (1757-1845), England; Thomas Butts, Jr., sold 29 June 1853, Foster's (in 139 with No. 536 4, 9, 11, and 12) £17.66 bt. J.C. Strange; B. Quaritch, Boston offered catalogue 350 10 August 1883, May 1887, etc. (in 13842 with 32 others; see No. 84) £1,200; purchased 29 April, 1890

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Catalogue Raisonné

    Butlin 536(4)

    Dimensions

    50.5 x 38 cm (19 7/8 x 14 15/16 in.)

    Accession Number

    90.96

    Medium or Technique

    Pen and watercolor on paper

    Not On View

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  • A Study of Cross-lights

    about 1910
    Denman Waldo Ross (American, 1853–1935)

    Description

    Provenance

    The artist; to MFA, 1919, gift of the artist.

    Credit Line

    Gift of the artist

    Details

    Dimensions

    80.96 x 65.4 cm (31 7/8 x 25 3/4 in.)

    Accession Number

    19.810

    Medium or Technique

    Oil on canvas

    Not On View

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  • Nude (Sketch for Conquerors of Salamis)

    Fernand Cormon (French, 1845–1924 French)

    Description

    Credit Line

    Gift of Paul J. Sachs and W. G. Russell Allen

    Details

    Accession Number

    RES.38.586

    Not On View

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  • Nude Man Seated and Another Standing, with a Woman and Baby Lightly Etched in the Background

    about 1646
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Markings

    Watermark: D G

    Provenance

    Henry F. Sewall (1816-1896, New York, Lugt 1309); purchased by MFA, November 1897.

    Credit Line

    Harvey D. Parker Collection—Harvey Drury Parker Fund

    Details

    Catalogue Raisonné

    Bartsch 194; Hind 222 ii

    Dimensions

    Platemark: 19.7 x 12.8 cm (7 3/4 x 5 1/16 in.) Sheet: 20.5 x 13.4 cm (8 1/16 x 5 1/4 in.)

    Accession Number

    P575

    Medium or Technique

    Etching

    Not On View

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  • Nude Man Seated and Another Standing, with a Woman and Baby Lightly Etched in the Background

    about 1646
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Provenance

    Henry F. Sewall (1816-1896, New York, Lugt 1309); purchased by MFA, November 1897.

    Credit Line

    Harvey D. Parker Collection—Harvey Drury Parker Fund

    Details

    Catalogue Raisonné

    Bartsch 194; Hind 222 iii late

    Dimensions

    Platemark: 19.3 x 12.7 cm (7 5/8 x 5 in.) Sheet: 20 x 13.4 cm (7 7/8 x 5 1/4 in.)

    Accession Number

    P576

    Medium or Technique

    Etching

    Not On View

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  • Nude Man Seated Before a Curtain

    Study from the Nude: Man Seated Before a Curtain

    1646
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Provenance

    Henry F. Sewall (1816-1896, New York, Lugt 1309); purchased by MFA, November 1897.

    Credit Line

    Harvey D. Parker Collection—Harvey Drury Parker Fund

    Details

    Catalogue Raisonné

    Bartsch 193; Hind 220 i

    Dimensions

    Sheet: 16.4 x 9.7 cm (6 7/16 x 3 13/16 in.)

    Accession Number

    P574

    Medium or Technique

    Etching

    Not On View

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  • The Little Nude Model, Reading

    Little Nude Model Reading

    1889–90
    James Abbott McNeill Whistler (American (active in England), 1834–1903)

    Description

    Markings

    no marks

    Provenance

    Francis Bullard (1862-1913, Boston); gift to MFA, March 1909.

    Credit Line

    Gift of Francis Bullard

    Details

    Catalogue Raisonné

    Way 029, only state AIC 033

    Dimensions

    Image: 16.7 x 17.9 cm (6 9/16 x 7 1/16 in.) Sheet: 32.3 x 22.9 cm (12 11/16 x 9 in.)

    Accession Number

    M21092

    Medium or Technique

    Transfer lithograph

    Not On View

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  • Female Nude with Flowers

    Japanese
    Meiji era
    Hashiguchi Goyô (Japanese, 1881–1921)

    Description

    Credit Line

    Museum purchase with funds donated by Leonard A. Lauder

    Details

    Catalogue Raisonné

    Barros catalogue #: VII-19

    Dimensions

    Overall: 8 x 13 cm (3 1/8 x 5 1/8 in.)

    Accession Number

    2005.10

    Medium or Technique

    Color lithograph; ink on cardstock

    Not On View

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    Asia, Prints and Drawings

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    Postcards

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  • Standing Female Nude

    1905–08
    Elie Nadelman (American, 1882–1946)

    Description

    This drawing predates Elie Nadelman’s emigration to America. Born in Poland, he studied briefly in Warsaw before going to Munich where in 1902 he encountered the astounding collection of Classical antiquities housed in the Glyptothek. By 1904, he had moved to Paris where he would live for next decade. He was drawn to the power of Classical and Renaissance sculpture, which he studied in the Louvre; yet, he was fully engaged with avant-garde activities. From 1905-08, the period in which he made the present drawing, he exhibited at the Salon des Indépendants and at the Salon d’Automne. In his first solo exhibition, at the Galerie Druet, he showed, among other things, a series of full-length standing nudes in bronze and plaster. The drawing may well have served him in the creation of those figures.
    In a statement widely cited because of its truth, Nadelman said in 1910, “I employ no other line than the curve, which possesses freshness and force. I compose the curves so as to bring them in accord in opposition to each other.” This practice is quite evident in the present drawing. Beginning with a broadly drawn pencil underdrawing, Nadelman arranged the main contours of the figure in rhythms and counterpoints. At this stage the drawing would have resembled the stylized outline drawings that he sometimes deemed complete. Nadelman’s underdrawing was made with sufficient pressure that it is easily seen. Whereas many other artists make very light underdrawings that are inconspicuous, easily inked over, or readily erased, Nadelman uses his as part of the complete image. Here pencil lines very clearly define the feet, hands, and other features.
    Nadelman’s sculptural sense came into full play as he used a fine drafting pen to apply ink in narrow bands of parallel hatching that give the figure formidable heft, yet a bizarre, mannered, over-defined physiognomy. Even her breasts appear to be subdivided into smaller muscle groups. The numerous resultant highlights give her body the appearance of being a hard substance with a polished surface, similar to sculpture in stone or bronze.
    It has been observed that Nadelman derived the pose from Michelangelo’s “Dying Slave” intended for the tomb of Pope Julius II (Louvre). It might be more accurate to say that he took the Slave as his point of departure, for he altered nearly every aspect of the composition. Besides transforming the figure into a woman, he changed the positions of the arms, hands, and left leg. He also relaxed the figure, reducing the backward thrust of the shoulders and the tension in the abdomen. The woman’s ample hips and thighs accentuate the contrapposto distribution of her weight. Her left arm comes to the side of her head rather than reaching behind it. The back of her hand rests against her temple. Her right shoulder is lowered, and she gestures toward her breast.The overall result, however, is a less ecstatic and less weighty figure figure than that of Michelangelo.

    Inscription

    Signed lower right in pen and brown ink: Elie Nadelman

    Provenance

    Private collection (Paris); Galerie JGM (Paris); Private collection (New York); Beth Urdang Gallery (Boston); from whom purchased by MFA, 22 March 2006.

    Credit Line

    Charles H. Bayley Picture and Painting Fund

    Copyright

    Reproduced by permission of Elie Nadelman estate.

    Details

    Dimensions

    Sheet: 53.3 x 19.1 cm (21 x 7 1/2 in.) Framed: 78 x 44 x 3.5 cm (30 11/16 x 17 5/16 x 1 3/8 in.)

    Accession Number

    2006.846

    Medium or Technique

    Pen and ink over graphite pencil underdrawing on cream colored Asian paper

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  • Nude Man Seated on the Ground with One Leg Extended

    1646
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Provenance

    Henry F. Sewall (1816-1896, New York, Lugt 1309); purchased by MFA, November 1897.

    Credit Line

    Harvey D. Parker Collection—Harvey Drury Parker Fund

    Details

    Catalogue Raisonné

    Bartsch 196; Hind 221 ii

    Dimensions

    Platemark: 9.5 x 16.8 cm (3 3/4 x 6 5/8 in.) Sheet: 10.6 x 18.2 cm (4 3/16 x 7 3/16 in.)

    Accession Number

    P578

    Medium or Technique

    Etching

    Not On View

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  • Nude Man Seated on the Ground with One Leg Extended

    1646
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Provenance

    Henry F. Sewall (1816-1896, New York, Lugt 1309); purchased by MFA, November 1897.

    Credit Line

    Harvey D. Parker Collection—Harvey Drury Parker Fund

    Details

    Catalogue Raisonné

    Bartsch 196; Hind 221

    Dimensions

    Sheet: 10 x 15.8 cm (3 15/16 x 6 1/4 in.)

    Accession Number

    P579

    Medium or Technique

    Etching, counterproof

    Not On View

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  • Seated Nude Woman, Seen from Behind (Study for "Summer")

    Artist Raphaël Collin (French, 1850–1916 French)

    Description

    Inscription

    In charcoal, b.c.: dessin pour le tableau l'été; l.r.: R-C-

    Provenance

    Gift 1938

    Credit Line

    Gift of Paul J. Sachs and W. G. Russell Allen

    Details

    Dimensions

    Sheet: 61.9 x 47.0 cm (24 3/8 x 18 1/2 in.) Frame: 73.7 x 58.4 cm (29 x 23 in.)

    Accession Number

    RES.38.561

    Medium or Technique

    Charcoal on cream laid paper

    Not On View

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  • Nude (Sketch for Conquerors of Salamis)

    Fernand Cormon (French, 1845–1924 French)

    Description

    Credit Line

    Gift of Paul J. Sachs and W. G. Russell Allen

    Details

    Accession Number

    RES.38.566

    Not On View

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  • Reclining Female Nude (Study for "Summer"); verso: Standing Female Nude

    Artist Raphaël Collin (French, 1850–1916 French)

    Description

    Inscription

    In charcoal, l.l.: A mon ami S. Dufour/ –R. Collin–

    Provenance

    Gift 1938

    Credit Line

    Gift of Paul J. Sachs and W. G. Russell Allen

    Details

    Dimensions

    Sheet: 38.1 x 58.4 cm (15 x 23 in.) Frame: 73.7 x 58.4 cm (29 x 23 in.)

    Accession Number

    RES.38.556

    Medium or Technique

    Charcoal, extensively stumped, on cream laid paper

    Not On View

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  • Standing Female Nude, Seen from Behind (recto and verso)

    Artist Raphaël Collin (French, 1850–1916 French)

    Description

    Inscription

    Stamp in red ink, l.r.: R.C

    Credit Line

    Gift of Paul J. Sachs and W. G. Russell Allen

    Details

    Dimensions

    18 3/4 x 16 in

    Accession Number

    RES.38.550

    Medium or Technique

    Charcoal on cream laid paper

    Not On View

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  • Nude Woman Seated on a Mound

    about 1631
    Rembrandt Harmensz. van Rijn (Dutch, 1606–1669)

    Description

    Provenance

    Henry F. Sewall (1816-1896, New York, Lugt 1309); purchased by MFA, November 1897.

    Credit Line

    Harvey D. Parker Collection—Harvey Drury Parker Fund

    Details

    Catalogue Raisonné

    Bartsch 198; Hind 43 i

    Dimensions

    Sheet: 17.5 x 16 cm (6 7/8 x 6 5/16 in.)

    Accession Number

    P582

    Medium or Technique

    Etching

    Not On View

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  • The Battle of the Nudes

    1470–98
    Antonio Pollaiuolo (Italian, 1431–1498 Italian)

    Description

    Provenance

    Henry F. Sewall (1816-1896, NY, Lugt 1309); from whom purchased by MFA November 1897

    Credit Line

    Harvey D. Parker Collection—Harvey Drury Parker Fund

    Details

    Dimensions

    Platemark: 40.4 x 60.7 cm (15 7/8 x 23 7/8 in.) Sheet: 55.8 x 71.1 cm (21 15/16 x 28 in.)

    Accession Number

    P974

    Medium or Technique

    Engraving

    Not On View

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  • Nude Figure Kneeling Among Clouds

    about 1928
    Kahlil Gibran (American, 1883–1931 American)

    Description

    Signed

    Lower right: K. G.

    Provenance

    Mary Haskell Minis; gift to MFA, 1932.

    Credit Line

    Gift of Mrs. Mary Haskell Minis

    Details

    Dimensions

    Image: 27.9 x 21.6 cm (11 x 8 1/2 in.)

    Accession Number

    32.106

    Medium or Technique

    Graphite pencil and watercolor on paper

    Not On View

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    Watercolors

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  • Double- sided drawing for "Apollo in his Chariot with the Hours"(MFA Stairway) a. (Recto)Two Sketches of Male Nude (front view) b. (Verso) Various sketches: male nude, limbs, and compositional designs

    1921–25
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    a. (Recto) u. l.: in chalk S.5.113 b. (Verso) u.p.: in chalk 13;l. r.: 12.5.13

    Provenance

    The Sargent Collection, gift to MFA, October 1928.

    Credit Line

    The Sargent Collection–Gift of Miss Emily Sargent and Mrs. Violet Ormond in memory of their brother, John Singer Sargent

    Details

    Dimensions

    Sheet: 63 x 48.5 cm (24 13/16 x 19 1/8 in.)

    Accession Number

    28.658

    Medium or Technique

    a. (Recto): charcoal on paper b. (Verso): charcoal and graphite pencil on paper

    Not On View

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  • Standing Nude

    1900–05
    Auguste (René) Rodin (French, 1840–1917)

    Description

    Signed

    Lower right in graphite pencil: Aug Rodin

    Provenance

    Bernheim jeune & cie.; Denman W. Ross (1853-1935, MA); acquired December 1907

    Credit Line

    Denman Waldo Ross Collection

    Details

    Dimensions

    Sheet: 32.5 x 25 cm (12 13/16 x 9 13/16 in.)

    Accession Number

    07.858

    Medium or Technique

    Graphite pencil and watercolor

    Not On View

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  • Nude female figure

    Egyptian
    New Kingdom
    1550–1070 B.C.

    Findspot, Zawiet el Aryan, Egypt

    Description

    Nude female figure, hair braided and arms straight at sides. Faience; no trace of color. Very good condition. From Zawiyet el-Aryan

    Provenance

    From Zawiyet el-Aryan, Z 237 X. Excavated by the Harvard University–Museum of Fine Arts Expedition; assigned to the MFA by the government of Egypt. (Accession date: October 19, 1911)

    Credit Line

    Harvard University—Boston Museum of Fine Arts Expedition

    Details

    Dimensions

    Overall: 13.5 x 3 x 2.2 cm (5 5/16 x 1 3/16 x 7/8 in.)

    Accession Number

    11.2519

    Medium or Technique

    Faience

    Not On View

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    The Ancient World

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    Sculpture

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  • Study of a Nude Girl

    1901
    Antonio Mancini (Italian, 1852–1930)

    Description

    Inscription

    On right in black chalk: mi dispiaec che e brutto - A Mancini - in questo...al dare/ al Signore che piace l'amico del nudo /- sig. Wise- Roma 4-3-1901 / suo servo Mancino / Grazie tanto

    Provenance

    Acquired December 7, 1905

    Credit Line

    Anonymous gift

    Details

    Catalogue Raisonné

    Macandrew 151

    Dimensions

    Sheet: 29 x 21.6 cm (11 7/16 x 8 1/2 in.)

    Accession Number

    05.107

    Medium or Technique

    Watercolor and colored chalks on gray paper

    Not On View

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  • Miniature oinochoe (chous) depicting a nude boy with his pet bird

    Greek
    Classical Period
    about 425–420 B.C.

    Place of Manufacture, Athens, Attica, Greece

    Description

    Squat form. Small nude boy standing before a table on which is a bird.

    Provenance

    By 1901: with E. P. Warren (according to Warren's records: Bought in Athens.); purchased by MFA from E. P. Warren, December 1901

    Credit Line

    Henry Lillie Pierce Fund

    Details

    Dimensions

    Height: 9 cm (3 9/16 in.); diameter: 7.1 cm (2 13/16 in.)

    Accession Number

    01.8086

    Medium or Technique

    Ceramic, Red Figure technique

    Not On View

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    The Ancient World

    Classifications

    Vessels

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  • Study of a Male Nude, Ecorché

    late 16th century
    Unidentified artist, Italian, 16th century (Italian)

    Description

    Provenance

    Giuseppe Vallardi (1784-1863, Milan, Lugt 1223); Quincy Adams Shaw (1825-1908, Boston); acquired by MFA March 1894

    Credit Line

    Gift of Quincy Adams Shaw

    Details

    Catalogue Raisonné

    Macandrew 096

    Dimensions

    Sheet: 42.2 x 19.9 cm (16 5/8 x 7 13/16 in.)

    Accession Number

    94.88

    Medium or Technique

    Red chalk on tan antique laid paper

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  • Reclining Male Nude; verso: Male Nude with Raised Arm

    undated
    Attributed to Carle van Loo (French, 1705–1765)

    Description

    Provenance

    George S. Helman, gift May 1915

    Credit Line

    Gift of George S. Hellman

    Details

    Dimensions

    Sheet: 43.1 x 27.5 cm (16 15/16 x 10 13/16 in.)

    Accession Number

    15.1347

    Medium or Technique

    Red chalk on tan antique laid paper

    Not On View

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  • Caricature of a overweight nude woman

    Greek
    Late Classical Period
    about 300 B.C.

    Place of Manufacture, Athens ?, Attica ?, Greece

    Description

    A caricature of an overweight nude woman with crude face and smile. Her arms are crossed and head is twisted as if in a dance–a parody of a courtesan Possible from Tanagra.

    Provenance

    By 1903: with E. P. Warren (according to his records: Bought in Athens); purchased by MFA, March 24, 1903

    Credit Line

    Francis Bartlett Donation of 1900

    Details

    Dimensions

    13.2 cm (5 3/16 in.)

    Accession Number

    03.915

    Medium or Technique

    Terracotta

    Not On View

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    Europe, The Ancient World

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  • Nude

    19th century
    Charles Bargue (French, about 1825–1883)

    Description

    Provenance

    Walter Gay (1856-1937, Boston artist); acquired September 1927

    Credit Line

    Gift of Walter Gay

    Details

    Dimensions

    Sheet: 19.8 x 17.6 cm (7 13/16 x 6 15/16 in.)

    Accession Number

    27.493

    Medium or Technique

    Graphite pencil

    Not On View

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  • Interior of a Bathhouse

    Japanese
    Edo period
    Attributed to Isoda Koryûsai (Japanese, 1735–1790)

    Description

    Provenance

    August 1919, purchased by William S. and John T. Spaulding from Frederick W. Gookin; December 1, 1921, given by William S. and John T. Spaulding to the Museum.

    Credit Line

    William S. and John T. Spaulding Collection

    Details

    Dimensions

    Horizontal chûban; 17.2 x 25 cm (6 3/4 x 9 13/16 in.)

    Accession Number

    21.4962

    Medium or Technique

    Woodblock print (nishiki-e); ink and color on paper

    Not On View

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  • Standing Male Nude with Raised Arms (Study for a Caryatid)

    17th century
    Attributed to Simone Cantarini (Italian (active in Pesaro and Bologna), 1612–1648)

    Description

    Provenance

    Dr. Denman W. Ross

    Credit Line

    Denman Waldo Ross Collection

    Details

    Catalogue Raisonné

    Macandrew 026

    Dimensions

    Sheet: 18.9 x 13.2 cm (7 7/16 x 5 3/16 in.)

    Accession Number

    20.864

    Medium or Technique

    Red chalk heightened with white on cream antique laid paper

    Not On View

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  • Nude youth

    Greek
    Classical or Hellenistic Period
    4th century B.C. or later

    Description

    The youth held an object such as a kantharos or phiale in his lowered right hand. He could have been an attendant from a large “funerary banquet” relief.

    The head, left arm, and legs below the knees are missing. The relief is relatively thin and the figure fairly flat. The back of the background is finished off roughly.

    Provenance

    Presumably from Greece.

    Credit Line

    Gift of Mr. and Mrs. William de Forest Thomson

    Details

    Catalogue Raisonné

    Sculpture in Stone (MFA), no. 088; Sculpture in Stone and Bronze (MFA), p. 109 (additional published references).

    Dimensions

    Height x depth: 14 x 3 cm (5 1/2 x 1 3/16 in.)

    Accession Number

    18.442

    Medium or Technique

    Marble, Attic mainland, probably Pentelic

    Not On View

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    The Ancient World

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  • Reclining Male Nude with Subsidiary Study of a Face; verso: Two Studies of a Male Nude with Raised Arms

    Attributed to Carle van Loo (French, 1705–1765)

    Description

    Provenance

    George S. Hellman; by whom given to MFA May 1915

    Credit Line

    Gift of George S. Hellman

    Details

    Dimensions

    Sheet: 26.8 x 41.5 cm (10 9/16 x 16 5/16 in.)

    Accession Number

    15.1348

    Medium or Technique

    Black and white chalk on tan antique laid paper

    Not On View

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  • The Lady of the Gorge

    1912
    Childe Hassam (American, 1859–1935)

    Description

    Inscription

    Lower left: [crescent] Childe Hassam 1912; Reverse, inside round moon form: C.H. 1912

    Provenance

    1912, sold by the artist to John Pickering Lyman (1847-1914), Boston; 1914, by descent to his sister, Miss Theodora Lyman; 1919, gift of Miss Theodora Lyman to the MFA. (Accession Date: September 18, 1919)

    Credit Line

    The John Pickering Lyman Collection—Gift of Miss Theodora Lyman

    Details

    Dimensions

    56.2 x 60.96 cm (22 1/8 x 24 in.)

    Accession Number

    19.1324

    Medium or Technique

    Oil on canvas

    On View

    Suzanne and Terrence Murray Gallery (Gallery 226)

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  • Where Do We Come From? What Are We? Where Are We Going?

    1897–98
    Paul Gauguin (French, 1848–1903)

    Description

    In 1891, Gauguin left France for Tahiti, seeking in the South Seas a society that was simpler and more elemental than that of his homeland. In Tahiti, he created paintings that express a highly personal mythology. He considered this work—created in 1897, at a time of great personal crisis—to be his masterpiece and the summation of his ideas. Gauguin’s letters suggest that the fresco-like painting should be read from right to left, beginning with the sleeping infant. He describes the various figures as pondering the questions of human existence given in the title; the blue idol represents “the Beyond.” The old woman at the far left, “close to death,” accepts her fate with resignation.

    Inscription

    Upper left: D'ou Venons Nous / Que Sommes Nous / Où Allons Nous; Upper right: P. Gauguin / 1897

    Provenance

    1898, sent by the artist in Tahiti to Georges Daniel de Monfreid (b. 1856 - d. 1929), Paris; consigned by Monfreid and his agent to Ambroise Vollard (b. 1867 - d. 1939), Paris [see note 1]; 1901, sold by Vollard to Gabriel Frizeau (b. 1870 - d. 1938), Bordeaux [see note 2]; probably 1913, sold by Frizeau to the Galérie Barbazanges, Paris; before 1920, sold by Barbazanges to J. B. Stang, Oslo; 1935, probably sold by Stang to Alfred Gold, Berlin and Paris [see note 4]. 1936, Marie Harriman Gallery, New York [see note 5]; 1936, sold by the Harriman Gallery to the MFA for $80,000. (Accession Date: April 16, 1936) NOTES: [1] The painting was exhibited at the Galerie Ambroise Vollard, November 17 - December 10, 1898. [2] On Frizeau's acquisition and sale of the painting, see Claire Frêches-Thory, "Le premier acheteur d'Où venons-nous? Le collectionneur bordelais, Gabriel Frizeau (1870 - 1938) et ses rapports avec Gauguin," in Rencontres Gauguin à Tahiti: actes du colloque 20 et 21 juin 1989 (Papeete, 1989), pp. 48 - 56. The Galérie Barbazanges exhibited the painting in 1914. [3] The Galérie Barbazanges sought to buy the painting back from Stang in 1920; see Frêches-Thory (as above, n. 2), p. 51. [4] A letter of February 1, 1935 to the dealer Germain Seligmann, held by the Archives of American Art (Seligmann papers, box 426), states that the dealer Alfred Gold said the painting was still the property of Stang ("la grand Gauguin était toujours la proprieté de Stang") and that it would be included in the forthcoming Brussels exhibition. The writer has not been identified. Later that year, Gold lent the painting to the exhibition "L'impressionisme," Palais de Beaux-Arts, Brussels, June 15 - September 29, 1935, cat. no. 28. Gold purchased other works from the Stang collection, and almost certainly acquired this painting directly from him. [5] A letter from the supervisor of Museum Education at the MFA (April 21, 1936) states that Marie Harriman acquired the painting in Paris. It was exhibited at her New York gallery, April 22 - May 9, 1936.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Details

    Catalogue Raisonné

    Wildenstein 561

    Dimensions

    Image: 139.1 x 374.6 cm (54 3/4 x 147 1/2 in.) Framed: 171.5 x 406.4 x 8.9 cm (67 1/2 x 160 x 3 1/2 in.)

    Accession Number

    36.270

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at Beyeler Museum AG, February 7, 2015 – June 28, 2015

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  • Study of a Male Nude

    1810–1820
    Unidentified artist, French, first quarter 19th century (French), Circle Of Jacques Louis David (French, 1748–1825), Formerly attributed to Jean Louis André Théodore Géricault (French, 1791–1824)

    Description

    Provenance

    About 1875-1886 Thomas Robinson, Providence (as Géricault; probably brought painting to US About 1875; painting was cut in two by 1886; Robinson was a painter active in the RI area, and also sometimes acted as a purchasing agent for Vose); November 16, 1886 Robinson sale (Moore's Art Galleries) New York, Lot 126; 1886-1890 Vose Galleries, Providence and Boston (as Géricault; bought at Robinson sale); 1890-1891 Mr. and Mrs. Samuel Dennis Warren, Boston (as Géricault; at time of donation, painting measured 13 1/2 x 16 1/2; from Vose); 1891 MFA (gift of Warren; formerly as Géricault; rejoined to lower half 1935) (Accession date: February 3, 1891)

    Credit Line

    Gift of Mrs. Samuel Dennis Warren

    Details

    Dimensions

    80.7 x 61.9 cm (31 3/4 x 24 3/8 in.)

    Accession Number

    91.26

    Medium or Technique

    Oil on canvas

    Not On View

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  • Susanna and the Elders

    about 1845–55
    William Perkins Babcock (American, 1826–1899)

    Description

    Inscription

    Upper right: WP. Babcock. [WP in monogram]; Reverse: painting by W.P. Babcock

    Provenance

    The artist; to MFA, 1900, bequest of the artist.

    Credit Line

    Bequest of William Perkins Babcock

    Details

    Dimensions

    30.8 x 24.76 cm (12 1/8 x 9 3/4 in.)

    Accession Number

    00.509

    Medium or Technique

    Oil on panel

    Not On View

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  • Riverbank with Bathers

    about 1882
    Jean Charles Cazin (French, 1841–1901)

    Description

    Inscription

    Lower right: J C. CAZIN -18 [...]1

    Provenance

    1889, Antonin Proust (b. 1832 - d. 1905), Paris [see note 1]. 1890, Galerie Georges Petit, Paris; September 25, 1890, sold by Galerie Georges Petit to Joseph Foxcroft Cole (b. 1837 - d. 1892) for Peter Chardon Brooks (b. 1831 - d. 1920), Boston; by descent to his daughter, Eleanor Brooks (Mrs. Richard M.) Saltonstall, Boston; 1920, gift of Mrs. Richard M. Saltonstall to the MFA. (Accession Date: April 21, 1920) NOTES: [1] This was probably the painting he lent to the Exposition Universelle, Paris, 1889, no. 280 ("La Marne") .

    Credit Line

    Peter Chardon Brooks Memorial Collection; Gift of Mrs. Richard M. Saltonstall

    Details

    Dimensions

    131.2 x 147 cm (51 5/8 x 57 7/8 in.)

    Accession Number

    20.593

    Medium or Technique

    Oil on canvas

    Not On View

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  • Judith with the Head of Holofernes

    1543
    Jan Massys (Netherlandish, 1509–1575)

    Description

    Old Testament heroines feature prominently in Jan Massys’s body of work, particularly as nudes. Here he portrays Judith, who saved her fellow Israelites from the forces of Assyrian king Nebuchadnezzar by beheading his general Holofernes. She used her beauty to first win his trust. Massys’s sensual interpretation of the subject is consistent with the 16th-century trend of depicting Judith as a beguiling seductress rather than a virtuous conqueror. This is the earliest signed work by Massys, whose father, Quentin, was an influential Netherlandish painter.

    Inscription

    Lower right, along back edge of sword blade: O P VS JOHANNES MATSIIS; Lower right, on blade near hilt: [...] 1543

    Provenance

    Private collection, Spain. By 1902, William Turner Dannat (b. 1853 - d. 1929), Paris [see note 1]; 1912, sold by William T. Dannat to the MFA for $6790. (Accession Date: October 3, 1912) NOTES: [1] William Turner Dannat was an American painter who worked in Spain and settled in Paris. He acquired several paintings in Spain, probably including this one; according to notes in the MFA curatorial file it had been in a private collection there. When and how it came into Dannat's possession, however, is not known. He lent the painting to the "Exposition des Primitifs Flamands à Bruges" (Bruges, 1902), cat. no. 241.

    Credit Line

    Abbott Lawrence Fund and Picture Fund

    Details

    Dimensions

    102.2 x 75.6 cm (40 1/4 x 29 3/4 in.)

    Accession Number

    12.1048

    Medium or Technique

    Oil on panel

    On View

    William A. Coolidge Gallery (Gallery 243A)

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  • Automedon with the Horses of Achilles

    1868
    Henri Regnault (French, 1843–1871)

    Description

    Regnault’s painting illustrates a story from Homer’s Iliad. Automedon, chariot driver for the Greek warrior Achilles, restrains the horses Xanthos (behind) and Balios, two beasts who could predict the future. As Regnault wrote, “the horses, aware that their master [Achilles] is taking them into combat, and that this combat will be the last and will cost him his life, struggle and wrest with the groom who has come to take them from their pasture. One of them, chestnut brown, rises like a great dark phantom, outlining himself against the sky. I wanted to give the picture a foretaste of disaster.”

    Inscription

    Lower left: H. Regnault / Rome. / 1868

    Provenance

    By 1872, acquired in France by Levi Parsons Morton (b. 1824 - d. 1920), New York [see note 1]; March 1, 1882, Morton sale, George A. Leavitt and Co., New York, lot 157, to Samuel A. Coale, St. Louis, MO [see note 2]; 1890, sold by Coale to the MFA for $1000. (Accession Date: June 17, 1890) NOTES: [1] The painting was executed in Rome in 1867/1868 and sent by the artist to Paris. Notes in the curatorial file indicate that Morton acquired it in France, where he served as U.S. Minister, though how and when is not known. It was first published as being in his possession by Henri Cazalès, "Henri Regnault: sa vie et son oeuvre" (Paris, 1872), p. 141. [2] In 1883, Coale exhibited the painting at William and Everett Gallery, Boston. It was on loan to the MFA from 1884 until 1890, during which time funds were raised for its purchase. See Walter Muir Whitehill, "Museum of Fine Arts Boston: A Centennial History" (Cambridge, MA, 1970), vol. 1, pp. 78–81.

    Credit Line

    Museum purchase with funds donated by contribution

    Details

    Dimensions

    315 x 329 cm (124 x 129 1/2 in.)

    Accession Number

    90.152

    Medium or Technique

    Oil on canvas

    On View

    The Beal Gallery (Gallery 251)

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  • Seated Nude (Les Regrets)

    1847–48
    Jean-François Millet (French, 1814–1875)

    Description

    Inscription

    Lower right: J F Millet

    Provenance

    Durand-Ruel (New York, NY, (?) USA; Paris, France). By 1875 Alfred Sensier, (Paris, France); 1875 - 1875 Joseph Foxcroft Cole, (Boston, MA, USA) from Sensier (buying for Angell, Henry Clay, Dr.); 1875 - 1911 Dr. and Mrs. Henry Clay Angell, buying through Cole; d. 1911(Boston, MA, USA); 1911 - 1919 Martha Bartlett Angell, by inheritance; d. 1919 (Boston, MA, USA); 1919 - Boston, MA, USA. Museum of Fine Arts (gift of Angell) (Accession date: March 20, 1919)

    Credit Line

    The Henry C. and Martha D. Angell Collection

    Details

    Dimensions

    25.1 x 18.4 cm (9 7/8 x 7 1/4 in.)

    Accession Number

    19.97

    Medium or Technique

    Oil on panel

    Not On View

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  • Moorish Bath

    1870
    Jean-Léon Gérôme (French, 1824–1904)

    Description

    Inscription

    Upper right, on top of bench: J.L. GEROME

    Provenance

    1870, gift of the artist to H. J. Turner; April 4, 1903, sold by Turner at Christie's, London, lot 138, and bought by Arthur Tooth and Sons, London, Paris, and New York [see note 1]; 1903, sold by Tooth and Sons to J. D. Milburn, Esquire [see note 2]. Eben D. Jordan, Boston, MA; by 1924, by descent to Robert Jordan, Boston, MA; 1924, gift of Robert Jordan to the MFA. (Accession Date: April 17, 1924) NOTES: [1] presumably this is Tooth London trans. no. 2936, Gérôme, "Bain Mauve," 20 x 16 [2] the name in the stock inventory for 1903 is illegible, name cited in Picture Sales Vol. II, p. 37

    Credit Line

    Gift of Robert Jordan from the collection of Eben D. Jordan

    Details

    Dimensions

    Overall: 50.8 x 40.6cm (20 x 16in.) Other (Framed): 82.6 x 14 x 73cm (32 1/2 x 5 1/2 x 28 3/4in.)

    Accession Number

    24.217

    Medium or Technique

    Oil on canvas

    Out on Loan

    On display at Musée des Beaux-Arts, Montreal, January 26, 2015 – June 7, 2015

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  • Captives

    Evariste Vital Luminais (French, 1822–1896)

    Description

    Inscription

    Lower left: EV. Luminais

    Provenance

    February 23, 1891, Charles Noel estate sale, Hôtel Drouot, Paris, lot 31, sold for 2,650 francs. Eben Dyer Jordan (b. 1857 - d. 1916), Boston; by inheritance to Dorothy Jordan Robinson, Boston; 1924, gift of Dorothy Jordan Robinson to the MFA. (Accession Date: April 17, 1924)

    Credit Line

    Gift of Dorothy Jordan Robinson, from the Collection of Eben D. Jordan

    Details

    Dimensions

    56 x 46.3 cm (22 1/16 x 18 1/4 in.)

    Accession Number

    24.230

    Medium or Technique

    Oil on canvas

    Not On View

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  • Mars and Venus

    about 1630
    Nicolas Poussin (French (active in Rome), 1594–1665)

    Description

    Poussin was the foremost French painter of the seventeenth century, although he spent almost his entire career in Rome. His restrained and idealizing style, inspired by the art of classical antiquity and the Renaissance, influenced the course of French painting for three hundred years. This allegory of the triumph of love over war shows Mars, god of war, enraptured by Venus, goddess of love, while her attendant Cupids make playthings of his weapons and armor. In its harmonious landscape, warm tonalities, and sensuous mood, this early work demonstrates Poussin’s deep admiration of painters of the Venetian Renaissance.

    Provenance

    1689, Carlo Antonio dal Pozzo (b. 1606 - d. 1689), Rome [see note 1]; by descent to his son, Gabriele dal Pozzo (d. 1695), Rome [see note 2]; by descent to his widow, Anna Teresa Benzoni, Marchesa Lancellotti de'Ginnetti, Rome [see note 3]; 1730, sold in Florence, either to Henry Furnese (d. 1756), Gunnersbury Park, England or to his cousin, Robert Furnese (b. before 1697 - d. 1733), 2d Bt., from whom it passed to Henry Furnese (d. 1756), Gunnersbury Park; February 4, 1758, posthumous Henry Furnese sale, Prestage, London, lot 55, to Simon Harcourt, 1st Earl Harcourt (b. 1714 - d. 1777), Nuneham, England [see note 4]; until 1940, by descent within the family; 1940, sold by Lord Harcourt, through Roland and Delbanco, London, to the MFA for $25,000. (Accession Date: April 11, 1940) NOTES: [1] This has been identified with the Mars and Venus in Carlo Antonio dal Pozzo's posthumous inventory of 1689. See Francis Haskell and Sheila Rinehart, "The Dal Pozzo Collection, Some New Evidence, Part I" Burlington Magazine 102 (July, 1960): 318-326, esp. Appendix 2, p. 324. How he acquired it is not known. Both he and his brother, Cassiano del Pozzo, were friends and patrons of Poussin, and both possessed art collections. Cassiano left his art collection to his brother upon his death in 1657, but its contents were not recorded, so it is not known if the Mars and Venus had been included. For further on Carlo Antonio, see Donatella L. Sparti, "Carlo Antonio dal Pozzo (1606-1689): An Unknown Collector," Journal of the History of Collections 2, no. 1 (1990): 7-20. [2] The painting appears in an inventory of his collection, made shortly after his death in 1695 (no. 100, "Altro quadro di 7, e 9 con La favola di monsù Pusino"); see Arnauld Brejon de Lavergnée, "Tableaux de Poussin et d'autres artistes français dans la collection Dal Pozzo: deux inventaires inédits," Revue de l'Art 19 (1973): 79-96 and Timothy J. Standring, "Some Pictures in the Dal Pozzo Collection: Three New Inventories," Burlington Magazine 130 (August, 1988): 611-613. [3] In 1729 an inventory of the collection was drawn up, when the Marchesa retained custody of the picture collection for her son and Gabriele's heir, Cosimo Antonio Dal Pozzo (d. 1740); Mars and Venus appears as "Bacchanale," see Standring (as above, n. 2). A legal declaration of 1731 records that in 1730 four pictures by Poussin, held by the Marchesa, were sold to Englishmen in Florence. As Standring has shown, the Mars and Venus was among them, and the purchaser was probably either Robert Furnese or his cousin, the collector Henry Furnese. [4] The name of the purchaser is recorded in a copy of the auction catalogue. Also see Edward William Harcourt, ed., "The Harcourt Papers" (Oxford, 1880-1905), vol. 3, p. 233.

    Credit Line

    Augustus Hemenway Fund and Arthur William Wheelwright Fund

    Details

    Dimensions

    154.9 x 213.7 cm (61 x 84 1/8 in.)

    Accession Number

    40.89

    Medium or Technique

    Oil on canvas

    On View

    William I. Koch Gallery (Gallery 250)

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  • Summer Afternoon (Artist in his Studio with a Model)

    about 1913
    Sir William Orpen (Irish (active in England), 1878–1931)

    Description

    Orpen studied in Dublin and then at London’s Slade School, becoming one of the most successful, and most honored, portrait painters of his generation. Here, in one of his numerous forays into self-portraiture, Orpen (who was known for his wit and humor) depicts himself at work in his Chelsea studio, gesturing mock-heroically as his model yawns.

    Inscription

    Lower right: O R P E N

    Provenance

    1920, Mrs. John F. Carroll; February 5, 1920, sold at Carroll sale, Anderson Galleries, New York, no. 112, and bought by John Taylor Spaulding, Boston, MA (d. 1948); 1948, bequest of Spaulding. (Accession Date: June 3, 1948)

    Credit Line

    Bequest of John T. Spaulding

    Details

    Dimensions

    96.5 x 86.4 cm (38 x 34 in.)

    Accession Number

    48.582

    Medium or Technique

    Oil on canvas

    On View

    Elevator Lobby and Corridor near Founders ( 340.4)

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  • Reclining Nude

    about 1840–41
    Gustave Courbet (French, 1819–1877)

    Description

    Inscription

    Lower left: G. Courbet

    Provenance

    M. Lemercier, Le Havre, France; sold by the daughters of Lemercier [see note 1]. Galerie Robert Schmit, Paris [see note 2]. Makowski, Paris. Galerie Fabiani, Paris. 1954, Oppenheimer, Paris; 1954, sold by Oppenheimer to the Matthiesen Gallery, London; 1957, sold by Matthiesen Gallery to the MFA for £8,500. (Accession Date November 14, 1957) NOTES: [1] According to information provided by the Matthiesen Gallery at the time of its purchase. [2] Information about Schmit, Makowski, and Fabiani is taken from Robert Fernier, La vie et l'oeuvre de Gustave Courbet: Catalogue Raisonné (Paris, 1977), vol. 1, cat. no. 17.

    Credit Line

    Gift of Mrs. Samuel Parkman Oliver

    Details

    Dimensions

    104.7 x 143.5 cm (41 1/4 x 56 1/2 in.)

    Accession Number

    57.702

    Medium or Technique

    Oil on paper mounted on canvas

    Not On View

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  • Nymph and Shepherd in a Landscape

    about 1630
    Cornelis van Poelenburch (Dutch, about 1594 or 1595–1667)

    Description

    Provenance

    October 24, 1986, anonymous sale, Christie's, London, lot 264, probably sold to Johnny Van Haeften, London; 1987, sold by Van Haeften to the MFA. (Accession Date: February 25, 1987)

    Credit Line

    Henry H. and Zoe Oliver Sherman Fund

    Details

    Dimensions

    19 x 27.9 cm (7 1/2 x 11 in.)

    Accession Number

    1987.56

    Medium or Technique

    Oil on copper

    Not On View

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  • Venus Clipping Cupid's Wings

    about 1870–73
    Jean-Baptiste-Camille Corot (French, 1796–1875)

    Description

    Inscription

    signed lower right: Corot

    Provenance

    1875, Arthur Stevens (b. 1825 - d. 1909), Brussels. 1878, Alfred de Knyff (b. 1819 - d. 1885), Brussels and Paris. By 1895, Émile Dekens, Brussels; 1897, sold by Dekens, through Durand-Ruel, Paris, to Henry Osborne Havemeyer (b. 1847 - d. 1907) for Oliver Hazard Payne (b. 1839 - d 1917), New York [see note 1]; by inheritance to his nephew, Harry Payne Bingham (b. 1887 - d. 1955), New York; until 1987, by descent within the family. Anonymous gift to the MFA. (Accession Date: January 20, 1988) NOTES: [1] See Frances Weitzenhoffer, The Havemeyers: Impressionism Comes to America (New York: Abrams, 1986), pp. 125-126.

    Credit Line

    Gift in memory of the late Harry Payne Bingham

    Details

    Dimensions

    70.5 x 54 cm (27 3/4 x 21 1/4 in.)

    Accession Number

    1987.745

    Medium or Technique

    Oil on canvas

    Not On View

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  • Susanna and the Elders

    1615
    Hendrick Goltzius (Dutch, 1558–1617)

    Description

    Tales about morally righteous women, many from the Old Testament, became popular subjects among the Protestant Dutch, who held virtue in high esteem. Goltzius’s painting recounts the story of Susanna, beautiful and pious, discovered bathing in her garden by two lecherous elders. When she spurned their advances, they claimed to have found her with a lover. Their statement was ultimately revealed at court to be a lie, and Susanna was exonerated. Here the portrait-like character of the elders’ faces is surprising. The fountain may allude to their lustful thoughts—the dolphin is a traditional symbol of expectant desire.

    Inscription

    Monogrammed and dated 1615

    Provenance

    Probably between about 1745 and 1760, acquired by Queen Lovisa Ulrika of Sweden (b. 1720 - d. 1782), Stockholm. By 1901 until at least 1911, Anton Ridderstad (b. 1848 - d. 1933), Berga, Linköping, Sweden. October 31, 1927, sale, Bukowski, Stockholm, sold to Hammarlöf for 2600 kroner. By 1930, Otto Meyerson (dealer); about 1936, sold by Meyerson to a private collection, Sweden and later Lugano, Switzerland, where it remained until 1993. By 1996, Galerie Sanct Lucas, Vienna; 2000, sold by Galerie Sanct Lucas to the MFA. (Accession Date: October 25, 2000)

    Credit Line

    Charles H. Bayley Picture and Painting Fund

    Details

    Dimensions

    138 x 104 cm (54 5/16 x 40 15/16 in.)

    Accession Number

    2000.974

    Medium or Technique

    Oil on canvas

    On View

    Art of the Netherlands in the 17th Century Gallery (Gallery 242)

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  • Sketch for the Messianic Era - Soul of Man - Boston Public Library Murals

    1903–16
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    In graphite recto l.r.: 2.3.1A (Fox number); verso u.l.: S.6.69; l.l.: 2.3.1; l.r.: 2.3.1

    Provenance

    The Sargent Collection, gift to MFA October 4,1928

    Credit Line

    The Sargent Collection–Gift of Miss Emily Sargent and Mrs. Violet Ormond in memory of their brother, John Singer Sargent

    Details

    Dimensions

    Sheet: 62.5 x 47.5 cm (24 5/8 x 18 11/16 in.)

    Accession Number

    28.544

    Medium or Technique

    Charcoal on paper

    Not On View

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  • The Fall of Man (Adam and Eve)

    1504
    Albrecht Dürer (German, 1471–1528)

    Description

    Provenance

    PDP Register entry: Date acquired, 7/1/1930 [exact to month]

    Credit Line

    Bequest of Mrs. Harriet J. Bradbury

    Details

    Catalogue Raisonné

    Bartsch (intaglio) 001; Meder 1, II, b

    Dimensions

    Platemark: 25.2 x 19.4 cm (9 15/16 x 7 5/8 in.)

    Accession Number

    30.1042

    Medium or Technique

    Engraving

    Not On View

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  • A Nude Man Reclining, Holding a Club

    about 1526
    Albrecht Dürer (German, 1471–1528)

    Description

    Inscription

    Signed, monogram AD at L. lower center.

    Provenance

    By 1834, Henryk Lubomirski (b. 1777 - d. 1850), Przeworsk (present-day Poland) [see note 1]; by inheritance to his son, Jerzy Henryk Lubomirski (b. 1817 - d. 1872), Przeworsk; 1869, transferred to the Ossolinski National Institute, L'viv (present-day Ukraine), in a separate entity called the Lubomirski Museum (inv. no. 8314) [see note 2]; 1939, consolidated by Soviet occupation forces into the Academy of Arts and Sciences of the USSR [see note 3]; June 28, 1941, taken by Kajetan Mühlmann (b. 1898 - d. 1958) and delivered to Hermann Göring for Adolf Hitler, Berlin [see note 4]; transferred to Alt Aussee [see note 5]; July 4, 1945, recovered by Allied forces and taken to the Munich Central Collecting Point (no. 2399/239) [see note 6]; May 26, 1950, returned to George (Jerzy) Rafal Lubomirski (b. 1887 - d. 1978), Geneva [see note 7]; sold by Lubomirski on the art market. 1952, Paul Drey, New York. 1959, P. & D. Colnaghi and Co., London; 1959, sold by Colnaghi to the MFA for £1,600. (Accession Date: September 17, 1959) NOTES: [1] M. Gebarowicz and Hans Tietze, Albrecht Dürers Zeichnungen im Lubomirski-Museum in Lemburg (Vienna, 1929), p. 9. Lubomirski's collection of thirty drawings attributed to Dürer appears in the draft of an inventory of his collection, drawn up in 1834. Before 1918, Przeworsk, where the collection was initially housed, was part of the Austrian-Hungarian Empire. [2] In 1823, Henryk Lubomirski agreed to incorporate his collection of books, medals, paintings, and antiquities into the Ossolinski National Institute (founded by Józef Maksymilian Ossolinski in 1816). His objects were to be contained in a separate branch of the Institute called the Lubomirski Museum, and the rights of inheritance to remain in the family in an entailed estate (i.e., inheritance was to be limited to lineal descendants, who would be hereditary "literary curators"). The Przeworsk Entail did not gain imperial approval, however, until after an amended charter was submitted in 1866. It was approved in 1868; Jerzy Henryk Lubomirski inherited the estate in 1869, at which time the collection was transferred to the Museum in L'viv. The conditions stipulated that union of the Lubomirski estate with the Ossolinski National Institute could be abrogated if the Institute were dissolved, its dedication of assets changed, or if it limited the rights granted to the literary curators. In such an event, the Museum would revert to the estate. If the union between Institute and Museum were dissolved, but the original conditions of the Institute were restored within 50 years, then the union would also be reinstated. If the entailed estate itself were abolished by the laws of the land, the collection was to become the unencumbered property of the heir's family. [3] Poland regained its independence in 1918. In September 1939, Soviet troops invaded and annexed eastern portions of the country. The Ossolinski National Institute was nationalized by the Soviets (as were other private cultural institutions), effectively dissolving it, according to the definitions stipulated above (see n. 2). [4] In 1941, Nazi Germany invaded the Soviet Union and L'viv (thereafter, Lemberg) was conquered. In July, Kajetan Mühlmann - the head of art confiscation in Poland and Holland for the Third Reich-seized the 25 drawings from the Lubomirski collection that were attributed at the time to Dürer. According to Mühlann's own statements, Göring ordered him to deliver the drawings to Berlin. They were given to Adolf Hitler, who had them in his possession until at least September of that year. [5] During World War II, many works of art stored elsewhere by the Nazis were moved to the abandoned salt mines of Alt Aussee in Austria, where they would be safe from wartime bombing. [6] Allied troops established collecting points where looted works of art could be identified for eventual restitution to their rightful owners. This drawing came into the Munich Central Collecting Point in 1945 from Alt Aussee (no. 1743/239), and was numbered 2399/239 (Bundesarchiv, Berlin, B323/653, Property Card no. 2399/239). [7] Following World War II, L'viv once again became a part of the Soviet Union. In 1946, the Ossolinski Institute was reactivated in Wroclaw, Poland. According to a 1946 Polish law, entailed family estates--such as the Przeworsk Entail--were abolished. Although neither Poland nor the Soviet Union claimed the Lubomirski Dürers after the war, George (Jerzy) Lubomirski, grandson of Henryk Lubomirski, submitted a restitution claim for them. U.S. military policy at the time was to restitute works of art not to individuals, but to the countries from which they were taken; the countries would return them to their owners. However, such a resolution was complicated by several factors: first, because L'viv was a part of the Soviet Union, a return of the Dürer drawings through the USSR was unlikely. Second, the Ossolinski Institute (and thus the Lubomirski Museum) was dissolved when it was nationalized in 1939. Third, although the Institute re-formed in Poland in 1946, the Przeworsk Entail (which itself was not situated in L'viv, but in Przeworsk, Poland) would have been forbidden by Polish law. Citing the dissolution of the estate with the Institute, and the reversion of the Museum collection to the Lubomirski estate, in 1950 the U. S. State Department authorized the return of the drawings to Prince George Lubomirski, who then sold them. ADDITIONAL INFORMATION: Claims for the group of Dürer drawings taken by Mühlmann have been made by the National Academy of Sciences of Ukraine and the City of L'viv, and by the Ossolinski National Institute, Wroclaw. The claims challenge the decision of the U.S. government to restitute the drawings to George Lubomirski in 1950. For detailed discussions of the provenance and restitution of the Lubomirski Dürers, see Konstantin Akinsha and Sylvia Hochfeld, "Who Owns the Lubomirski Dürers?" ARTNews, October 2001, pp. 158-163 and the Ossalinski National Institute, The Fate of the Lubomirski Dürers (Wroclaw, 2004), passim.

    Credit Line

    Otis Norcross Fund

    Details

    Dimensions

    Sheet: 11.4 x 17.5 cm (4 1/2 x 6 7/8 in.)

    Accession Number

    59.532

    Medium or Technique

    Pen and balck ink on paper

    Not On View

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  • Nude Man Seen from Behind

    about 1530–1550
    Antonio da Trento (Italian, about 1510–about 1550), After Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, 1503–1540)

    Description

    Markings

    Verso, lower left-center, stamped in brown ink, the mark of the MFA (Lugt 282)

    Provenance

    Eleanor A. Sayre, Cambridge, Massachusetts (1916-2001); her bequest to the MFA October 23, 2002

    Credit Line

    Bequest of Eleanor A. Sayre

    Details

    Catalogue Raisonné

    Bartsch XII.148.13

    Dimensions

    Sheet: 28.6 x 18.1 cm (11 1/4 x 7 1/8 in.) Image (borderline): 28.4 x 17.9 cm (11 3/16 x 7 1/16 in.)

    Accession Number

    2002.571

    Medium or Technique

    Chiaroscuro woodcut printed from two blocks, in light orange-brown and black

    Not On View

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  • Little Man with Dark Red Foot

    Hombrecito de pie rojo oscuro

    1997
    Javier Marín (Mexican, born in 1962 Mexican)

    Description

    Base for sculpture

    Provenance

    The artist; with Nohra Haime Gallery, New York; 1997, purchased by Melvin N. Blake (b. 1927 - d. 1999) and Frank M. Purnell (b. 1930 - d. 1994), New York; gift of the estate of Melvin Blake to MFA, Boston, January 22, 2003

    Credit Line

    Melvin Blake and Frank Purnell Collection

    Copyright

    Reproduced with permission.

    Details

    Dimensions

    38 5/8 x 15 3/4 x 13 in.

    Accession Number

    2003.57.2

    Medium or Technique

    Oaxaca and Zacatecas clay

    Not On View

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    Americas, Contemporary Art

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    Sculpture

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  • Standing Female Nude, Seen from Behind

    1785–90
    Pierre-Paul Prud'hon (French, 1758–1823)

    Description

    Inscription

    Information on back of frame

    Provenance

    Charles Boulanger de Boisfremont (student and friend of the painter, 1773-1838, France, Lugt 353); by descent to his son; Hôtel Drouot, Paris, April 1870, lot 51; [Mme. Marbeau]; [Mme. Yeatman]; Wildenstein and Co., New York; Forsyth Wickes (1876-1964, New York, Paris, Rhode Island) purchased 30 November 1949; acquired by bequest 1965

    Credit Line

    Bequest of Forsyth Wickes—The Forsyth Wickes Collection

    Details

    Dimensions

    Sheet: 61 x 34.9 cm (24 x 13 3/4 in.) Framed: 99.1 x 71.1 cm (39 x 28 in.)

    Accession Number

    65.2598

    Medium or Technique

    Charcoal heightened with white chalk on blue paper

    Not On View

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  • Sketch for Prometheus; Various sketches: figures within circles (verso)

    1917–21
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Recto in graphite pencil: l. r.: MFA 11.4.1 (Fox number); 21.2479 Verso in graphite pencil: l. l.: 1A; in red pencil u. l.: 21.2479

    Provenance

    The artist, gift to MFA November 3, 1921

    Credit Line

    Gift of the artist for the benefit of the Museum School

    Details

    Dimensions

    Sheet: 47.5 x 62.5 cm (18 11/16 x 24 5/8 in.)

    Accession Number

    21.2479

    Medium or Technique

    Charcoal and graphite pencil (verso) on paper

    On View

    Carol Vance Wall Rotunda (Gallery 102)

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  • Sketch for Ganymede (MFA Rotunda)

    1917–21
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Recto in graphite pencil: l. r.: MFA 11.1.3 (Fox number); 21.2480 Verso in red pencil: u. l.: 21.2480; in graphite pencil: l. r.: illegible inscription

    Provenance

    The artist, gift to MFA November 3, 1921

    Credit Line

    Gift of the artist for the benefit of the Museum School

    Details

    Dimensions

    Sheet: 48 x 63 cm (18 7/8 x 24 13/16 in.)

    Accession Number

    21.2480

    Medium or Technique

    Charcoal and graphite pencil on paper

    Not On View

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  • Sketch for Eros and Psyche - Psyche - (MFA Rotunda)

    1917–21
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Recto in graphite pencil: l. r.: MFA 10.1.8 (Fox number); 21.2481 Verso in red pencil: 21.481

    Provenance

    The artist, gift to MFA November 3, 1921

    Credit Line

    Gift of the artist for the benefit of the Museum School

    Details

    Dimensions

    Sheet: 63 x 48 cm (24 13/16 x 18 7/8 in.)

    Accession Number

    21.2481

    Medium or Technique

    Charcoal and graphite pencil on paper

    Not On View

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  • Sketch for Cartouche over Prometheus - Youth Kneeling - (MFA Rotunda)

    1917–21
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Recto in graphite pencil: l. r.: MFA 10.9.39 (Fox number) Verso in red pencil: u. l.: 21.2486

    Provenance

    The artist, gift to MFA November 3, 1921

    Credit Line

    Gift of the artist for the benefit of the Museum School

    Details

    Dimensions

    Sheet: 48 x 63 cm (18 7/8 x 24 13/16 in.)

    Accession Number

    21.2486

    Medium or Technique

    Charcoal on paper

    Not On View

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  • Sketch for Fame (MFA Rotunda)

    1917–21
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Recto in graphite pencil: l. r.: MFA 10.5.7 (Fox number); 21.2491 Verso in red pencil: u. l.:21.2491

    Provenance

    The artist, gift to MFA November 3, 1921

    Credit Line

    Gift of the artist for the benefit of the Museum School

    Details

    Dimensions

    Sheet: 63.4 x 47.5 cm (24 15/16 x 18 11/16 in.)

    Accession Number

    21.2491

    Medium or Technique

    Charcoal on paper

    Not On View

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  • Sketch for the Sphinx and the Chimaera - Chimaera - (MFA Rotunda)

    1917–21
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Recto in graphite pencil: l. r.: MFA 11.9.3 (Fox number); u.r.: 21.2493 Verso in red: u.r.: 21.2493

    Provenance

    The artist, gift to MFA November 3, 1921

    Credit Line

    Gift of the artist for the benefit of the Museum School

    Details

    Dimensions

    Sheet: 62.2 x 44.5 cm (24 1/2 x 17 1/2 in.)

    Accession Number

    21.2493

    Medium or Technique

    Charcoal on paper

    Not On View

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  • Sketch for cartouche over Music - Youth Seated - (MFA Rotunda)

    Sketch of youth for cartouche over Music

    1917–21
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Recto in graphite pencil: l.r.: MFA 10.9.30; 21.2499 Verso in red pencil(?): u.l.: 21.2499

    Provenance

    The artist, gift to MFA November 3, 1921

    Credit Line

    Gift of the artist for the benefit of the Museum School

    Details

    Dimensions

    Sheet: 47.5 x 63 cm (18 11/16 x 24 13/16 in.)

    Accession Number

    21.2499

    Medium or Technique

    Charcoal on paper

    Not On View

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  • Sketch for Architecture, Painting and Sculpture - Figure seated beneath Painting - (MFA Rotunda)

    Sketch of figure beneath Painting for Architecture, Painting and Sculpture

    1917–21
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Recto in graphite pencil: l.r.: MFA 10.10.18 (Fox number); 21.2500 Verso in red pencil(?): u.l.: 21.2500

    Provenance

    The artist, gift to MFA November 3, 1921

    Credit Line

    Gift of the artist for the benefit of the Museum School

    Details

    Dimensions

    Sheet: 47.5 x 63 cm (18 11/16 x 24 13/16 in.)

    Accession Number

    21.2500

    Medium or Technique

    Charcoal on paper

    Not On View

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  • Sketch for Dancing Figures - Central Figure - (MFA Rotunda)

    1917–21
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Recto in graphite pencil: l.r.: MFA 10.2.19 (Fox number); 21.2509 Verso in red pencil(?): u.l.: 21.2509

    Provenance

    The artist, gift to MFA November 3, 1921

    Credit Line

    Gift of the artist for the benefit of the Museum School

    Details

    Dimensions

    Sheet: 63 x 48 cm (24 13/16 x 18 7/8 in.)

    Accession Number

    21.2509

    Medium or Technique

    Charcoal on paper

    Not On View

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  • Sketch for Architecture, Painting and Sculpture - Relief Figure under Sculpture to Left of Mural - (MFA Rotunda)

    1917–21
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Recto in graphite pencil: l.r.: MFA 10.10.19 (Fox number); 21.2517 Verso in red pencil(?):21.2517

    Provenance

    The artist, gift to MFA November 3, 1921

    Credit Line

    Gift of the artist for the benefit of the Museum School

    Details

    Dimensions

    Sheet: 48 x 63 cm (18 7/8 x 24 13/16 in.)

    Accession Number

    21.2517

    Medium or Technique

    Charcoal on paper

    Not On View

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  • Sketch for Cartouche over Prometheus - Youth - (MFA Rotunda)

    1917–21
    John Singer Sargent (American, 1856–1925)

    Description

    Inscription

    Recto in graphite pencil: l.r.: MFA 10.9.36; 21.2516 Verso in red pencil: u.l.: 21.2516

    Provenance

    The artist, gift to MFA November 3, 1921

    Credit Line

    Gift of the artist for the benefit of the Museum School

    Details

    Dimensions

    Sheet: 47.2 x 63 cm (18 9/16 x 24 13/16 in.)

    Accession Number

    21.2516

    Medium or Technique

    Charcoal on paper

    Not On View

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  • Academic Study of a Nude Man

    1856–58
    Edgar Degas (French, 1834–1917)

    Description

    Markings

    PDP Watermark Type: Letters: KF Verso: Degas atelier stampin red

    Provenance

    Estate stamp (Lugt 657); not in Degas sales; [Georges Petit, Paris, 1919]; William G. Russell Allen (1882-1955, Boston); 1938, gift of W. G. Russell Allen to MFA. (Accession Date: November 10, 1938)

    Credit Line

    Gift of W. G. Russell Allen

    Details

    Dimensions

    Sheet: 61 x 46.7 cm (24 x 18 3/8 in.)

    Accession Number

    38.1653

    Medium or Technique

    Charcoal on gray laid paper

    Not On View

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  • After the Bath (large version)

    1891–92
    Edgar Degas (French, 1834–1917)

    Description

    Provenance

    Purchased 13 October 1982

    Credit Line

    Lee M. Friedman Fund

    Details

    Catalogue Raisonné

    Reed and Shapiro 66, fifth state; Delteil 64

    Dimensions

    Image: 30 x 31 cm (11 13/16 x 12 3/16 in.); Stonemark (from a second stone): 30 x 34 cm (11 13/16 x 13 3/8 in.); Sheet: 41 x 48.9 cm (16 1/8 x 19 1/4in.)

    Accession Number

    1982.616

    Medium or Technique

    Lithograph, transfer, and crayon

    Not On View

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  • Nude Woman Standing, Drying Herself

    1891–92
    Edgar Degas (French, 1834–1917)

    Description

    Provenance

    Robert M. Light, Santa Barbara, CA; from whom purchased, 14 September 1983

    Credit Line

    Katherine E. Bullard Fund in memory of Francis Bullard, by exchange

    Details

    Catalogue Raisonné

    Reed and Shapiro 61, fourth state; Delteil 65

    Dimensions

    Image: 33 x 24.5 cm (13 x 9 5/8 in.); Sheet: 45.5 x 29.3 cm (17 15/16 x 11 9/16 in.)

    Accession Number

    1983.313

    Medium or Technique

    Lithograph, transfer from monotype, crayon, tusche, and scraping

    Not On View

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  • Two Young Women Bathing in the Woods

    1929
    Roland Oudot (French, 1897–1981)

    Description

    Inscription

    Lower left: Roland Oudot 1929

    Provenance

    By 1937, Miss Betty Prather, Brookline, MA (died 1941) [see note 1]; 1937, MFA (gift of Prather) Accession Date: March 4, 1937 NOTES: [1] according to a letter of March 6, 1941 from the donor's sister in curatorial file, Miss Prather purchased the painting after seeing it on display in an exhibition in Paris, where she was then living.

    Credit Line

    Gift of Betty Prather

    Copyright

    © 2011 Artists Rights Society (ARS), New York / ADAGP, Paris .

    Details

    Dimensions

    100.3 x 81 cm (39 1/2 x 31 7/8 in.)

    Accession Number

    37.274

    Medium or Technique

    Oil on canvas

    Not On View

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  • Mercury and a Sleeping Herdsman

    about 1632–33
    Peter Paul Rubens (Flemish, 1577–1640)

    Description

    Figure studies for the ceiling of the Banqueting House, Whitehall.

    Provenance

    1803, possibly François Pauwels, Brussels; August 22, 1803, possibly Pauwels sale, DeMarneffe, Brussels, lot 68, bought in; August 25, 1814, possibly Pauwels sale, Geens, Brussels, lot 15, to Léandre Dacosta for 18 fr. [see note 1]. Sedelmeyer collection, Paris [see note 2]. 1881, Étienne-Edmond Martin, Baron de Beurnonville (b. 1825 - d. 1906), Paris; May 9-16, 1881, Beurnonville sale, Galerie Georges Petit, Paris, lot 441, to Baron d'Eder, Paris, for 2550 fr. [see note 3]. 1886, Artaria, Vienna [see note 4]. Seeger, Berlin [see note 5]. 1920, Galerie Haberstock, Berlin (stock no. 1029) [see note 6]. 1924, with Spink and Sons, London [see note 7]. 1933, art market, New York [see note 8]. 1942, Frederick Mont, New York [see note 9]. 1942, Arnold Seligmann, Rey and Co., Inc. New York [see note 10]; 1942, sold by Arnold Seligmann, Rey and Co. to the MFA for $12,500. (Accession Date: April 9, 1942) NOTES: [1] At one time this composition was painted over to depict Mercury and Argus with a cow, seen in foreshortening from the back, and a dog, sleeping at the lower left. The description of the Rubens painting in the two Pauwels sale catalogues matches the appearance of the MFA painting in its overpainted state. Its dimensions (97 x 78 cm.), however, do not. In Rubens: The Ceiling Decoration of the Banqueting Hall, Corpus Rubenianum Ludwig Burchard series, pt. 15 (London: Harvey Miller, 2005), vol. 1, cat. no. 3g, p. 181, Gregory Martin suggests that when it was in the Pauwels collection, the MFA panel was enlarged to allow for a mountainous landscape; this would account for the discrepancy in dimensions. Martin further suggests that the "additions may have been executed for the most part on paper laid down on panel," which would explain an annotation found next to the lot description in the 1814 sale catalogue: "faux et peint sur papier". If the MFA composition was enlarged, such additions were removed by 1881, when the painting was in the Beurnonville sale and its dimensions recorded as 65 x 52 cm. [2] A wax seal on the reverse of the panel indicates that the painting was in the Sedelmeyer collection. [3] Max Rooses, "L'oeuvre de P. P. Rubens" (Antwerp, 1890), vol. 3, p. 123, gives the name of the buyer. [4] Martin 2005 (as above, n. 1). [5] Ludwig Burchard, "A Loan Exhibition of Rubens," Wildenstein, New York (exh. cat. February 20 - March 31, 1951), p. 24, cat. no. 27; Seeger's dates of ownership are not given. A customs stamp from Berlin, found on the reverse of the panel, further indicates that the painting was once in that city. [6] Julius S. Held, "The Oil Sketches of Peter Paul Rubens: A Critical Catalogue" (Princeton, 1980), vol. 1, cat. no. 139; also see Martin 2005 (as above, n. 1) for the stock number. [7] Information from a photograph on file at the Witt Library, Courtauld Institute of Art, London, which shows the painting in its overpainted state. [8] Martin 2005 (as above, n. 1). [9] Information from a photograph on file at the Witt Library, which shows the painting in its cleaned state; also see Martin 2005 (as above, n. 1), p. 183, n. 8. [10] Arnold Seligmann, Rey, and Co. provided provenance information that conflicts with the information given here. According to a letter from Paul M. Byk of Arnold Seligmann, Rey and Co. (April 21, 1942; in the MFA curatorial file), "the picture was in an American private family and ... the owner who disposed of it had inherited the picture from the parents. Thus the picture has been in America for the last forty or fifty years." In a telephone conversation recorded by William G. Constable, Curator, Department of Paintings, MFA (April 29, 1942), Byk said that he understood that the picture passed directly from Baron d'Eder into the aforementioned American private collection.

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    63.5 x 53 cm (25 x 20 7/8 in.)

    Accession Number

    42.179

    Medium or Technique

    Oil on panel

    On View

    William I. Koch Gallery (Gallery 250)

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  • Hercules as Heroic Virtue Overcoming Discord

    about 1632–33
    Workshop of Peter Paul Rubens (Flemish, 1577–1640)

    Description

    Study for the ceiling of the Banqueting House, Whitehall.

    Provenance

    1904, Fontaine-Flament, Lille, France; June 10, 1904, Fontaine-Flament sale, Galerie Georges Petit, Paris, lot 47, to Charles Sedelmeyer, Paris; June 3-5, 1907, Sedelmeyer sale, Galerie Sedelmeyer, Paris, lot 42, to Giskoff [see note 1]. 1919, Marczell von Nemes, Budapest and Munich; March 19, 1919, Nemes sale, Hotel Drouot, Paris, lot 19, to François Monod (b. 1877), Paris. Dr. Fritz Rothman (b. 1893), London; by 1946, sold by Rothman to Agnew and Sons, London [see note 2]; 1947, sold by Agnew to the MFA for £2000. (Accession Date: December 11, 1947) NOTES: [1] The buyer's name is annotated in a copy of the auction catalogue. [2] According to correspondence from Agnew's to the MFA (August 31, 2004), Dr. Rothman sold the painting to the gallery. It was included in Agnew's Summer Exhibition (June, 1946), no. 18.

    Credit Line

    Ernest Wadsworth Longfellow Fund

    Details

    Dimensions

    63.8 x 48.6 cm (25 1/8 x 19 1/8 in.)

    Accession Number

    47.1543

    Medium or Technique

    Oil on panel

    On View

    William I. Koch Gallery (Gallery 250)

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  • Expulsion from Paradise

    1470s
    Benvenuto di Giovanni (Italian (Sienese), 1436–about 1518)

    Description

    Provenance

    Until 1921, Frédéric Engel-Gros, Château Ripaille, Switzerland; May 30, 1921, Engel-Gros sale, Galerie Georges Petit, Paris, lot 2, perhaps to Mr. and Mrs. Emile Paravicini, Paris [see note 1]; December 6, 1952, Paravicini sale, Galerie Jean Charpentier, Paris, lot 2, perhaps to Alfred Scharf, London [see note 2]; 1956, sold by Scharf to the MFA for £7000. (Accession Date: October 11, 1956) NOTES: [1] While Raimond van Marle asserted that the painting had been in the collection of Richard von Kaufmann, Berlin, this has not been substantiated; see his "Development of the Italian Schools of Painting," vol. 16 (The Hague, 1937), p. 408, n. 1. In a letter from Alfred Scharf to Thomas Maytham of the MFA (October 24, 1956), he explains that "I bought the Expulsion from Paradise by Benvenuto di Giovanni from Mr. and Mrs. E. Paravicini, Paris, the son-in-law and daughter of Mr. F. Engel -Gros, in whose collection the picture was for a long time....The Paravicini have no further information about its earlier history." A price annotated in a copy of the 1921 auction catalogue suggests the painting was sold; it is not known whether it was bought in and passed by descent to Mr. and Mrs. Paravicini, or if they acquired it at the sale. [2] Scharf's letter (as above, n. 1) does not clarify whether he acquired the painting at this sale, or privately from the Paravicini. It is possible that it did not sell at the 1952 auction.

    Credit Line

    Charles Potter Kling Fund

    Details

    Dimensions

    25.7 x 34.6 cm (10 1/8 x 13 5/8 in.)

    Accession Number

    56.512

    Medium or Technique

    Tempera on panel

    Not On View

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  • Reclining Nude

    1909
    Ernst Ludwig Kirchner (German, 1880–1938)

    Description

    In 1905 Kirchner was among the founders of an idealistic artistic brotherhood in Dresden called The Bridge (Die Brücke). Inspired by the intensity of Vincent van Gogh’s vision of nature, Paul Gauguin’s arbitrary color, and the expressive distortion of the Norwegian painter Edvard Munch, these young artists and others developed a powerful style now known as German Expressionism. This nude embodies the Expressionist ideal - brilliant, exaggerated color; a deliberate roughness of texture; and the freshness of a sketch retained in the finished work.

    Inscription

    Lower left: E.L Kirchner 09

    Provenance

    Possibly with Alfred Flechtheim or the Galerie Flechtheim [see note 1]. 1935, possibly with Galerie Dr. Schumann, Frankfurt; 1935, possibly sold by Schumann to Mr. Ris; by 1948, given by Ris to his sister, Elisabeth Ris (b. 1872 - d. 1959), Zurich; 1953, sold by Miss Ris to Dr. Hermann Ganz, Zurich [see note 2]; January 1955, sold by Ganz to Roland, Browse and Delbanco, London; February 19, 1955, one-half share sold by Roland, Browse and Delbanco to Marlborough Fine Art, Ltd., London; April 8, 1957, remaining one-half share sold by Roland, Browse and Delbanco to Marlborough [see note 3]; 1957, sold by Marlborough to the MFA. (Accession Date: January 10, 1957) NOTES: [1] "Flechtheim" appears to be written in pencil on the back of the painting stretcher. Whether it was actually owned by Alfred Flechtheim or the Galerie Flechtheim (which had galleries in Düsseldorf, Berlin, Cologne and Frankfurt) is not known. [2] This information comes from a letter from Hermann Ganz to Thomas N. Maytham of the MFA (February 27, 1957); according to Dr. Ganz, Elisabeth Ris received the painting from her brother. He had purchased "some paintings" at the Galerie Schumann in 1935, but Miss Ris did not know if the Kirchner painting was among them. It was certainly in her possession by 1948, when she lent it to the Kunsthaus, Zurich. [3] The information about the transactions between Roland, Browse and Delbanco and Marlborough Fine Arts, Ltd., was provided by Carol Togneri, Research Scholar, Norton Simon Museum on November 4, 2002.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © (for works by E. L. Kirchner) by Ingeborg & Dr. Wolfgang Henze-Ketterer, Wichtrach/Bern

    Details

    Dimensions

    74 x 151.5 cm (29 1/8 x 59 5/8 in.)

    Accession Number

    57.2

    Medium or Technique

    Oil on canvas

    On View

    Charlotte F. and Irving W. Rabb Gallery (Gallery 155)

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  • Actaeon Watching Diana and Her Nymphs Bathing

    1612
    Joachim Anthoniesz. Wtewael (Dutch, 1566–1638)

    Description

    Diana was the goddess of the hunt and guardian of chastity. For spying on her as she and her nymphs bathed, Actaeon was turned into a stag and killed by his own hounds. Wtewael’s contemporaries interpreted the story allegorically as an admonition against the weakness of the flesh. Although a later work by the artist, this painting still retains the refined artificiality of pose and palette favored by the Mannerists.

    Inscription

    Lower right, on bridge: Jo Wte Wael fecit An 1612 [J and o in monogram)

    Provenance

    By 1637, Jan Arentsz. van Naerden, Amsterdam [see note 1]. Until 1767, Mrs. Alewijn (née Geelvink); June 10, 1767, Alewijn Geelvink sale, Amsterdam, lot 18, to Pierre Fouquet, Amsterdam. Until 1806, Charles Joseph François Spruyt, Amsterdam; July 28, 1806, Spruyt sale, Fernand, Ghent, Belgium, lot 162, to Penneman. By 1929, Curt Glaser (b. 1879 - d. 1943), Berlin [see note 2]; May 9, 1933, Glaser sale, Internationales Kunst- und Auktionshaus, Berlin, lot 243, sold for M 550. J. H. Borghouts Gallery, Venlo and Utrecht, The Netherlands [see note 3]. Malmedé Gallery, Cologne; by 1956, sold by Malmedé to Jon Nicholas Streep, New York [see note 4]; 1957, sold by Streep to the MFA for $3,500. (Accession Date: February 14, 1957) NOTES: [1] The painting was included in the appraisal of the collection of Jan Arentsz. van Naerden by Lucas Luce and Hendrick Ulenborch, Amsterdam, December 11, 1637, no. 3. [2] The painting was first published by C.M.A.A. Lindeman, Joachim Anthonisz Wtewael (Utrecht, 1929), p. 249, no. X, as in Curt Glaser's collection. [3] According to information on file at the RKD, the Hague (ONS/Groep 518/Wtewael/doos 5/map 3). [4] According to a letter from the dealer Streep to the MFA (February 20, 1957) in the MFA curatorial file. ADDITIONAL INFORMATION: Scholar and art collector Curt Glaser was director of the Staatliche Kunstbibliothek in Berlin until 1933, when he was discharged according to the Nazi Laws for the Reestablishment of Civil Service (passed April 7, 1933), which forbade Jews from holding civil service, university and state positions. He sold much of his art collection in two sales in Berlin in May, 1933. He and his wife left Germany that summer, living for several years in Switzerland before immigrating to New York in 1941. Curt Glaser died in 1943 in Lake Placid, New York. The heirs of Curt Glaser have sought restitution of the works of art auctioned in May, 1933, alleging that the sales were due to Nazi persecution and therefore forced. In 2009, the United Kingdom's Spoliation Advisory Panel issued a report regarding eight drawings that were auctioned in May, 1933. The Advisory Panel found that Glaser's decision to sell the bulk of his collection was due to a number of factors and that the prices attained at auction were fair. The panel concluded that the claim was not sufficiently strong to recommend restitution of the drawings. A PDF of the panel's report can be downloaded at: http://www.culture.gov.uk/what_we_do/cultural_property/3296.aspx

    Credit Line

    Abbott Lawrence Fund

    Details

    Dimensions

    56.5 x 75.9 cm (22 1/4 x 29 7/8 in.)

    Accession Number

    57.119

    Medium or Technique

    Oil on panel

    On View

    Alyce Morrissey Gallery (Kunstkammer) (Gallery 143)

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  • Standing Figure

    1908
    Pablo Picasso (Spanish (worked in France), 1881–1973)

    Description

    This painting of a nude woman with her arms crossed behind her head was created during a key period of invention and experimentation, as Picasso began to construct his paintings in a new way. The figure is translated into simplified, geometric forms, reflecting Picasso’s interest in the art of Africa and Oceania. Using only a few colors, he focuses our attention on the intersection of these forms, linking figure and ground in a dynamic, curving rhythm.

    Inscription

    Reverse of original support: Picasso

    Provenance

    1909, sold by the artist to Daniel-Henry Kahnweiler (b. 1884 - d. 1979), Paris [see note 1]; June 13-14, 1921, Kahnweiler sale, Hotel Drouot, Paris, lot 83, to Winberg [see note 2]. Private collection, Germany. Private collection, Paris. By 1958, Galerie Nathan, Zurich; 1958, sold by Galerie Nathan to MFA. (Accession Date: October 9, 1958) NOTES: [1] According to letters of March 7, 1961 and March 18, 1961 from Kahnweiler to Mrs. Emay Buck of the MFA in curatorial file. This painting was among the possessions of Kahnweiler that were sequestered by the French government as legalized retribution against German citizens in the wake of World War I. [2] The buyer's name is annotated in a copy of the auction catalogue (reproduction in MFA curatorial file).

    Credit Line

    Juliana Cheney Edwards Collection

    Copyright

    © 2011 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    150.2 x 100.3 cm (59 1/8 x 39 1/2 in.)

    Accession Number

    58.976

    Medium or Technique

    Oil on canvas

    On View

    Charlotte F. and Irving W. Rabb Gallery (Gallery 155)

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  • Actaeon Watching Diana and her Nymphs Bathing

    1560s
    Paolo Veronese (Paolo Caliari) (Italian (Venetian), 1528–1588)

    Description

    This work is part of a series of mythological subjects that most likely decorated a frieze in a private home, perhaps just under a crown molding. The hunter Actaeon has stumbled upon the goddess of the hunt, Diana, bathing with her nymphs—her arrows and their clothes have been discarded at right. As punishment for gazing upon their nudity, Diana transforms Actaeon into a stag and he is torn apart by his own dogs. Typically this story is rendered with Actaeon expressing shock; here, however, he lounges on a rock, apparently enjoying the scene before he suffers the consequences.

    Provenance

    Until 1657, Giovanni Batta Raggi (b. 1613 - d. 1657), Genoa [see note 1]; 1658, by inheritance to his brother, Cardinal Lorenzo Raggi (b. 1615 - d. 1687), Rome [see note 2]; until at least 1780, probably by descent within the family, to Giulio Raggi, Genoa [see note 3]; 1818, possibly still at the Raggi palace, Genoa [see note 4]. By 1902, Sir George Lindsay Holford (b. 1860 - d. 1926), Dorchester House, London and Westonbirt, Gloucestershire, England [see note 5]; July 15, 1927, Holford sale, Christie's, London, lot 130, to Agnew, London, for 1,400 guineas (stock no. 6744); October 26,1928, sold by Agnew to Count Alessandro Contini Bonacossi (b. 1878 - d. 1955), Florence [see note 6]; May 26, 1930, sold by Contini Bonacossi to Mrs. Edward Jackson Holmes (Mary Stacy Beaman) (b. 1875), Boston; 1959, gift of Mrs. Edward Jackson Holmes to the MFA. (Accession Date: April 9, 1959) NOTES: [1] This is one of five paintings by Veronese, depicting scenes from Roman mythology, that are recorded in Raggi's posthumous inventory of November 4, 1658 (see Piero Boccardo, ed., "L'Età di Rubens," exh. cat. Palazzo Ducale, Genoa, March 20 - July 11, 2004, pp. 325-26, nos. 51-55 and p. 372, cat. nos. 94a-c). Of these, four are at the MFA (accession nos. 59.260, 60.125, 64.2078, 64.2079) and the fifth, showing the Rape of Europa, is in the Rasini collection, Milan. [2] The paintings are also included in a list, dated November 6, 1658, of works of art to be sent to Raggi's brother in Rome; see Boccardo, ed., 2004 (as above, n. 1), p. 326 ("Cinque bislonghi di Paolo [Veronese]"). [3] After the death of Lorenzo, one painting by Veronese probably remained in Rome, with his cousin Sigismondo, although it is not known which; Sigismondo lent a bislungo, or painting of elongated format, to San Salvatore in Lauro in 1701 and 1710. The others were sent back to Genoa and are recorded in 1780 at the palace of Giulio Raggi, trisnipote (probably a great-grandson or -nephew) of Giovanni Batta. They are described simply as "diverse fregi con piccole figure di Paolo da Verona" (different friezes [i.e., paintings of a long format] with little figures by Paolo Veronese). [4] In 1818, three of the five paintings -- the Rape of Europa and two that are not specified by subject -- were recorded at the palace by an anonymous author ("Descrizione della città di Genova da un anonimo del 1818," p. 303). [5] According to information supplied by the Getty Provenance Index, Holford lent this picture to the Royal Academy Winter Exhibition, Burlington House, London, 1902 (cat. no. 114). He may well have inherited the painting from his father, Robert Holford (b. 1808 - d. 1892), who was an avid collector. When Gustav Waagen visited Dorchester House in 1851, however, he did not record this in the Holford collection. [6] The information on Agnew's transactions was supplied by the Getty Provenance Index.

    Credit Line

    Gift of Mrs. Edward Jackson Holmes

    Details

    Dimensions

    26 x 101 cm (10 1/4 x 39 3/4 in.)

    Accession Number

    59.260

    Medium or Technique

    Oil on canvas

    On View

    Italian Renaissance Gallery (Gallery 206)

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  • Two Nudes (Lovers)

    1913
    Oskar Kokoschka (Austrian, 1886–1980)

    Description

    Painted in Vienna in the years just prior to World War I, Two Nudes is a self-portrait of Kokoschka with Alma Mahler, a symbolic testimonial to the artist’s tumultuous affair with the widow of the great composer Gustav Mahler. Kokoschka’s haunted expression and the ambiguous poses of the two lovers—who seem both to embrace and to move past each other—reflect a complex and tormented relationship. Kokoschka’s bold brushwork and Expressionist style were influenced not only by van Gogh but by the sixteenth-century Spanish painter El Greco, whose work Kokoschka greatly admired.

    Inscription

    Lower center: OK

    Provenance

    About 1914/1915, sold by the artist to Oskar Reichel (b. 1869 - d. 1943), Vienna [see note 1]; February, 1939, transferred by Reichel to Otto Kallir (b. 1894 - d. 1978), Galerie St. Etienne, Paris and New York [see note 2]; 1945, sold by Galerie St. Etienne, New York, to the Nierendorf Gallery, New York; 1945, sold by Nierendorf to Silberman Galleries, New York; 1947/1948, probably sold by Silberman to Sarah Reed (Mrs. John) Blodgett, later Sarah Reed Platt (d. by 1972), Grand Rapids, Portland, Oregon and Santa Barbara; 1973, bequest of Sarah Reed Platt to the MFA. (Accession Date: April 11, 1973) NOTES: [1] Dr. Oskar Reichel, an admirer and collector of Kokoschka's work, also knew him personally and almost certainly acquired this painting directly from him. Tobias G. Natter, Die Welt von Klimt, Schiele und Kokoschka: Sammler und Mäzene (Cologne, 2003), 254, suggests it was acquired around 1914/1915. The painting was first published as being in Dr. Reichel's collection by Paul Westheim in Das Kunstblatt 1 (1917), p. 319. [2] On February 1, 1939, Reichel transferred the painting--along with four other Kokoschka paintings--to the dealer Otto Kallir, who at that time ran the Galerie St. Etienne in Paris. Kallir exhibited it in Paris that spring and brought it to the United States later that year. After his arrival in the United States, he paid Reichel's two sons, who had already immigrated to North and South America, for the paintings. Kallir opened a branch of his Galerie St. Etienne in New York and exhibited this work often between 1940 and 1945. FOR FURTHER INFORMATION, please see http://www.mfa.org/collections/provenance

    Credit Line

    Bequest of Sarah Reed Platt

    Copyright

    © 2015 Fondation Oskar Kokoschka / Artists Rights Society (ARS), New York / ProLitteris, Zürich

    Details

    Dimensions

    163.2 x 97.5 cm (64 1/4 x 38 3/8 in.)

    Accession Number

    1973.196

    Medium or Technique

    Oil on canvas

    On View

    Charlotte F. and Irving W. Rabb Gallery (Gallery 155)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Women and Children Bathing in a River

    Léon-Augustin Lhermitte (French, 1844–1925)

    Description

    Inscription

    Lower right: L. Lhermitte

    Provenance

    1981, on exchange from Galerie Resche, Paris. (Accession Date: January 1, 1982)

    Credit Line

    Gift of Dr. Henry Kemble Oliver, by exchange

    Details

    Dimensions

    43.8 x 54 cm (17 1/4 x 21 1/4 in.)

    Accession Number

    1981.279

    Medium or Technique

    Pastel on paper

    Not On View

    Collections

    Europe, Prints and Drawings

    Classifications

    Pastels

    More Info
  • Proposition Diurne (La femme au miroir)

    1937

    Description

    Delvaux and René Magritte (1898-1967) were the major Belgian exponents of Surrealism. Dating from the period when Delvaux arrived at his signature style, the hallucinatory quality of this scene is enhanced by his precise, almost hyper-realist, technique. Here, as if in a dream, an idealized nude woman examines a mirror that does not reflect her face, but remains as empty as her expression.

    Provenance

    Edouard Léon Théodore Mesens (b. 1903 - d. 1971), Brussels. By 1938, Claude Spaak (b. 1904 - d. 1990), Saint Cloud, France. By 1965, Frank M. Purnell (b. 1930 - d. 1994) and Melvin N. Blake (b. 1927 - d. 1999), New York; 2003, gift of the estate of Melvin Blake to the MFA. (Accession Date: January 22, 2003)

    Credit Line

    Melvin Blake and Frank Purnell Collection

    Copyright

    © 2011 Artists Rights Society (ARS), New York / SABAM, Brussels

    Details

    Dimensions

    105.4 x 130.2 cm (41 1/2 x 51 1/4 in.)

    Accession Number

    2003.32

    Medium or Technique

    Oil on canvas

    Not On View

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • Carmelina

    1903
    Henri Matisse (French, 1869–1954)

    Description

    Matisse represented the female nude many times, both in painting and in sculpture. In this striking early work, the rounded forms of Carmelina’s body, strongly modeled in light and dark, stand out almost in relief against the pattern of rectangular shapes behind her. The subject of the nude, usually relaxed and seductive, here becomes a confrontation between the boldly posed model and the artist, who is visible in the mirror at the back of the studio.

    Inscription

    Lower left: Henri Matisse

    Provenance

    By 1912, Bernheim-Jeune, Paris [see note 1]. 1931, Baron Shigetaro Fukushima (b. 1895 - d. 1960), Paris; 1931, sold by Fukushima, through the Pierre Matisse Gallery, New York, to the MFA for $10,050 [see note 2]. (Accession Date: February 4, 1932) NOTES: [1] Bernheim-Jeune et Cie. lent the painting to the "Second Post-Impressionist Exhibition" (Grafton Galleries, London, October 5 - December 31, 1912), cat. no. 9. [2] MFA accession numbers RES.32.2-RES.32.18 were purchased together for $10,050.

    Credit Line

    Tompkins Collection—Arthur Gordon Tompkins Fund

    Copyright

    © 2011 Succession H. Matisse, Paris / Artists Rights Society (ARS), New York.

    Details

    Dimensions

    81.3 x 59 cm (32 x 23 1/4 in.)

    Accession Number

    RES.32.14

    Medium or Technique

    Oil on canvas

    On View

    Charlotte F. and Irving W. Rabb Gallery (Gallery 155)

    Collections

    Europe

    Classifications

    Paintings

    More Info
  • The Morning Glory

    1899
    Elihu Vedder (American, 1836–1923)

    Description

    Inscription

    Lower left: CopyriGHT 1899 BY E. VEDDER

    Provenance

    The artist; to William Sturgis Bigelow, Boston, 1900; to MFA, 1926, William Sturgis Bigelow Collection.

    Credit Line

    William Sturgis Bigelow Collection

    Details

    Dimensions

    35.56 x 35.24 cm (14 x 13 7/8 in.)

    Accession Number

    26.781

    Medium or Technique

    Oil on paper mounted on canvasboard

    Not On View

    Collections

    Americas

    Classifications

    Paintings

    More Info
  • Kohl vessel in the form of a nude woman

    Egyptian
    New Kingdom, Dynasty 18–19
    1550–1186 B.C.

    Description

    Missing lid

    Provenance

    By 1836: Robert Hay Collection, Linplum, Scotland; 1863: to his son, Robert James Alexander Hay; 1868-1872: Way Collection, Boston (purchased by Samuel A. Way through London dealers Rollin and Feuardent, 27 Haymarket); 1872: given to the MFA by Samuel's son, C. Granville Way.

    Credit Line

    Hay Collection—Gift of C. Granville Way

    Details

    Dimensions

    H. 12.8 cm, w. 3.6 cm, d. 6.8 cm

    Accession Number

    72.4158

    Medium or Technique

    Painted wood

    Not On View

    Collections

    The Ancient World

    Classifications

    Vessels

    More Info
  • Nude female statuette

    Greek
    Archaic Period
    5th century B.C.

    Findspot, Naukratis, Egypt

    Description

    Nude female statuette. In frontal pose with right arm hanging straight at the side. The navel is a large hole. Missing, the head, left arm and feet.

    Provenance

    From Naukratis. 1886-7: excavated by William Matthew Flinders Petrie for the Egypt Exploration Fund, assigned to the EEF by the Egyptian government; December 22, 1887, presented to the MFA by the EEF. (Accession date: 1888).

    Credit Line

    Egypt Exploration Fund by subscription

    Details

    Dimensions

    7.5 cm (2 15/16 in.)

    Accession Number

    88.878

    Medium or Technique

    Terracotta

    Not On View

    Collections

    The Ancient World

    Classifications

    Sculpture

    More Info

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