http://collections.mfa.org/collections/315219/objects/rdfMFA Images: Women in Arthttp://collections.mfa.org/internal/media/dispatcher/927799/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/968948/resize%3Aformat%3DfullAfternoon Tea Partyabout 1891Mary Stevenson CassattDrypoint and color aquatintTrial Proof Fhttp://collections.mfa.org/objects/110146/rdfhttp://collections.mfa.org/internal/media/dispatcher/1464926/resize%3Aformat%3DfullThe Attentive Listener1879Alfred StevensOil on panelhttp://collections.mfa.org/objects/31777/rdfhttp://collections.mfa.org/internal/media/dispatcher/891392/resize%3Aformat%3Dfull"Au Revoir! - Costume Tailleur pour la promenade," plate V from Gazette du Bon Ton, Volume 1, No. 1November 1912Francisco Javier GoséPhotomechanical lithograph with hand-applied color (pochoir)Petit costume tailleur élégant pour la promenade, en drap chamois, bordé de zibeline. Le chapeau et le manchon sont assortis.http://collections.mfa.org/objects/438871/rdfhttp://collections.mfa.org/internal/media/dispatcher/782363/resize%3Aformat%3DfullBefore the Battle1858, retouched in 1862Dante Gabriel RossettiTransparent and opaque watercolor on paper, mounted on canvashttp://collections.mfa.org/objects/4482/rdfhttp://collections.mfa.org/internal/media/dispatcher/915004/resize%3Aformat%3DfullThe Blue Cup1909Joseph Rodefer DeCampOil on canvashttp://collections.mfa.org/objects/32470/rdfhttp://collections.mfa.org/internal/media/dispatcher/1090745/resize%3Aformat%3DfullBocca Baciata (Lips That Have Been Kissed)1859Dante Gabriel RossettiOil on panelhttp://collections.mfa.org/objects/34360/rdfhttp://collections.mfa.org/internal/media/dispatcher/774800/resize%3Aformat%3DfullThe Butterfly (Costume Design for Anna Pavlova)1913Léon Nikolaievitch BakstOpaque and transparent watercolor with graphite pencil on paperhttp://collections.mfa.org/objects/155969/rdfhttp://collections.mfa.org/internal/media/dispatcher/1255232/resize%3Aformat%3Dfull"Call and I follow----let me die"Julia Margaret CameronPhotograph, carbon print (printed later)http://collections.mfa.org/objects/105114/rdfhttp://collections.mfa.org/internal/media/dispatcher/886088/resize%3Aformat%3DfullCaritas1894–95Abbott Handerson ThayerOil on canvashttp://collections.mfa.org/objects/31090/rdfhttp://collections.mfa.org/internal/media/dispatcher/1226189/resize%3Aformat%3DfullThe Cashmere Shawl1911John Singer SargentTranslucent watercolor, with touches of opaque watercolor and wax resist, over graphite on paperSargent's niece, Rose-Marie Ormondhttp://collections.mfa.org/objects/36485/rdfhttp://collections.mfa.org/internal/media/dispatcher/775032/resize%3Aformat%3DfullCinderella1863Sir Edward Coley Burne-JonesTransparent and opaque watercolor on paperhttp://collections.mfa.org/objects/4465/rdfhttp://collections.mfa.org/internal/media/dispatcher/774965/resize%3Aformat%3DfullThe Coiffureabout 1891Mary Stevenson CassattDrypoint and color aquatinthttp://collections.mfa.org/objects/110136/rdfhttp://collections.mfa.org/internal/media/dispatcher/820250/resize%3Aformat%3DfullCornelia M. Walter (Mrs. William B. Richards)about 1850Thomas BallOil on canvashttp://collections.mfa.org/objects/31435/rdfhttp://collections.mfa.org/internal/media/dispatcher/1496606/resize%3Aformat%3DfullLa Dame aux Camélias/ Sarah Bernhardt/ Théâtre de la Renaissance1896Alphonse Maria MuchaPoster, lithograph printed in five colors on two sheets of paperhttp://collections.mfa.org/objects/171354/rdfhttp://collections.mfa.org/internal/media/dispatcher/891425/resize%3Aformat%3Dfull"De La Pomme Aux Lèvres - Travesti de Redfern," plate VI from Gazette du Bon Ton, Volume 1, No. 4February 1913Charles MartinPhotomechanical lithograph with hand-applied color (pochoir)La robe princesse de Redfern en velours frappé incrusté de paillettes d'argent s'ouvre sure le devant et laisse voir un dessous de mousseline de soie.http://collections.mfa.org/objects/441216/rdfhttp://collections.mfa.org/internal/media/dispatcher/708985/resize%3Aformat%3DfullDelftsche Slaolie (Delft Salad Oil)1894Johannes Theodorus TooropPoster, lithograph in black and yellow inkshttp://collections.mfa.org/objects/46085/rdfhttp://collections.mfa.org/internal/media/dispatcher/895958/resize%3Aformat%3Dfull"Des Roses dans la Nuit - Robe du Soir, de Worth," plate 54 from Gazette du Bon Ton, Volume 2, No. 7September 1921George BarbierLithograph with hand-applied color (pochoir)De Worth, une robe du soir en crêpe de Chine blanc, garnie de franges de soie verte, retenues par des bandes de strass.http://collections.mfa.org/objects/448802/rdfhttp://collections.mfa.org/internal/media/dispatcher/1812426/resize%3Aformat%3DfullLe Destin1896Henry Siddons MowbrayOil on canvashttp://collections.mfa.org/objects/34304/rdfhttp://collections.mfa.org/internal/media/dispatcher/1000107/resize%3Aformat%3DfullDivan Japonais1893Henri de Toulouse-LautrecPoster, color lithographPoster for the cabaret Divan Japonais, published version. Text (verbatim transcription of lettering): "Divan Japonais / 75 rue des Martyrs / Ed Fournier / Directeur" (lettering by the artist).http://collections.mfa.org/objects/5104/rdfhttp://collections.mfa.org/internal/media/dispatcher/1544122/resize%3Aformat%3DfullDuchessa di Montejasi with Her Daughters, Elena and Camillaabout 1876Edgar DegasOil on canvashttp://collections.mfa.org/objects/397941/rdfhttp://collections.mfa.org/internal/media/dispatcher/798244/resize%3Aformat%3DfullEdith, Lady Playfair (Edith Russell)1884John Singer SargentOil on canvashttp://collections.mfa.org/objects/32468/rdfhttp://collections.mfa.org/internal/media/dispatcher/765907/resize%3Aformat%3DfullL'Edition de Luxe1910Lilian Westcott HaleOil on canvasReproduced with permission.http://collections.mfa.org/objects/32532/rdfhttp://collections.mfa.org/internal/media/dispatcher/957737/resize%3Aformat%3DfullEleanor1907Frank Weston BensonOil on canvashttp://collections.mfa.org/objects/31339/rdfhttp://collections.mfa.org/internal/media/dispatcher/692173/resize%3Aformat%3DfullEmma Eames1889Julian Russell StoryOil on canvashttp://collections.mfa.org/objects/34090/rdfhttp://collections.mfa.org/internal/media/dispatcher/796969/resize%3Aformat%3DfullFigurine of a seated girl with tambourine and filletabout 325–300 B.C.TerracottaGirl seated on a square block which rests on the plinth of the statuette. She wears a high-belted peplos, whose overfold almost reaches her knees. The left corner of the overfold is pulled down by a circular weight. Her mantle is wrapped around her left forearm, and in her right hand she holds a wreath and a tympanon or drum. Her hair is done in the fashion known as the lampadion, or little torch, in which a bow of curls is tied on top of her head. Her attributes characterize her as a participant at a religious festival or ceremony, perhaps for Cybele or Dionysos. The front half of the base has been broken and reattached, as has the right side of the block together with the wreath, tambourine, and some of the girl's drapery. The head has been reattached but is certainly the original. Irregular cracks at the sides of the head reflect the original joining of separately molded front and rear sections. Rather coarse clay, olive (greenish brown) at the surface and red-brown in the core. White slip overall, flaked off in isolated spots. Traces of pink paint on lips; pupil of left eye painted blue; hair is dark gray. Hollow. Back, molded but undetailed, except for mantle wrapped around left arm, which is fully finished. The block on which the figure sits is open below and behind (Description from J. Herrmann in Uhlenbrock, The Coroplast's Art, cat. no. 10).http://collections.mfa.org/objects/151823/rdfhttp://collections.mfa.org/internal/media/dispatcher/679638/resize%3Aformat%3DfullFrances Pickering Adams Winthrop (Mrs. Robert C. Winthrop)1861William Morris HuntOil on canvashttp://collections.mfa.org/objects/32147/rdfhttp://collections.mfa.org/internal/media/dispatcher/797836/resize%3Aformat%3DfullFunerary monument of Aththaia, daughter of MalchosA.D. 150–200LimestoneAn elaborate Palmyrene grave relief with a Greek inscription "Aththaia, daughter of Malchos, Happy One, Farewell." She wears a full tunic and a long himation (a cloak-like garment) which goes twice around her body and covers her head as a veil. Beneath this is a cloth headdress, an engraved diadem, and strings of jewels in her hair, which is looped back at the sides of her head to reveal pierced earlobes and elaborate pendant earrings. She also wears two necklaces, the outer one of gold chain with a sun-and-crescent pendant, two bracelets, three rings, and a large, circular brooch with three pendants hanging on her left breast. Her right hand is raised to her veil in a standard gesture for representations of women in Palmyrene funerary relief portraits; it may, as in Roman art, signal feminine modesty. Her left hand, supported by the sling of her himation, clasps a loop of fabric from her garment.Although the Greek inscription betrays her Hellenic affinities, her face and the details of carving are thoroughly Eastern. The incised relief line of the eyebrows and the rubbery folds of the neck foreshadow Graeco-Buddhist sculpture in northern and northwestern India, and central Asia. The carving of the chiton (tunic) and himation is expertly handled, but the number of tight, zigzag folds also foreshadows Late Antique and Byzantine art.The preservation is excellent, the surfaces being almost totally free of deterioration or deposit.http://collections.mfa.org/objects/151395/rdfhttp://collections.mfa.org/internal/media/dispatcher/1001465/resize%3Aformat%3DfullA Garden1883Thomas Wilmer DewingOil on canvashttp://collections.mfa.org/objects/32480/rdfhttp://collections.mfa.org/internal/media/dispatcher/1225879/resize%3Aformat%3DfullThe Garden Wall1910John Singer SargentTranslucent and opaque watercolor, with wax resist, over graphite on paperhttp://collections.mfa.org/objects/5162/rdfhttp://collections.mfa.org/internal/media/dispatcher/758983/resize%3Aformat%3DfullGirl in White (Margaret Greene)about 1888Abbott Handerson ThayerOil on canvashttp://collections.mfa.org/objects/32732/rdfhttp://collections.mfa.org/internal/media/dispatcher/1544072/resize%3Aformat%3DfullGirl Reading1909Edmund C. TarbellOil on canvashttp://collections.mfa.org/objects/31346/rdfhttp://collections.mfa.org/internal/media/dispatcher/1618777/resize%3Aformat%3DfullA Girl Reading1877Frank DuveneckOil on panelhttp://collections.mfa.org/objects/31999/rdfhttp://collections.mfa.org/internal/media/dispatcher/765911/resize%3Aformat%3DfullGirls in Sunlight1895Philip Leslie HaleOil on canvashttp://collections.mfa.org/objects/33504/rdfhttp://collections.mfa.org/internal/media/dispatcher/839924/resize%3Aformat%3DfullThe Gleaner1865William Morris HuntOil on canvashttp://collections.mfa.org/objects/31514/rdfhttp://collections.mfa.org/internal/media/dispatcher/804552/resize%3Aformat%3DfullThe Goni Fair in Commemoration of the Triumph1906 (Meiji 39)Artist unknown, JapaneseColor lithograph; ink and metallic pigment on card stockhttp://collections.mfa.org/objects/394414/rdfhttp://collections.mfa.org/internal/media/dispatcher/897667/resize%3Aformat%3Dfull"Grande robe du soir, corsage de mousseline chair, tunique de soie brodée dans le goût de la 'Compagnie des Inden'," plate 69 from Journal des Dames et des Modes1913George BarbierEtching with hand-applied color (pochoir)http://collections.mfa.org/objects/116380/rdfhttp://collections.mfa.org/internal/media/dispatcher/1028720/resize%3Aformat%3DfullThe Guitar Player1908Joseph Rodefer DeCampOil on canvashttp://collections.mfa.org/objects/31337/rdfhttp://collections.mfa.org/internal/media/dispatcher/847860/resize%3Aformat%3DfullHarmony in Flesh Colour and Redabout 1869James Abbott McNeill WhistlerOil and wax crayon on canvashttp://collections.mfa.org/objects/33666/rdfhttp://collections.mfa.org/internal/media/dispatcher/678000/resize%3Aformat%3DfullHead of a Woman in Profileabout 1855–60Thomas CoutureOil on canvashttp://collections.mfa.org/objects/31834/rdfhttp://collections.mfa.org/internal/media/dispatcher/754941/resize%3Aformat%3DfullHead of Queen Tiye1390–1352 B.C.PeridotiteBy the second year of his reign, Amenhotep III was married to his "great royal wife," Queen Tiye. We know more about Tiye than we do about any other Eighteenth-Dynasty queen with the exception of Hatshepsut who ruled as pharaoh. The names of Tiye's parents, both commoners, were proclaimed far and wide on a series of large commemorative scarabs and circulated throughout the empire - an unheard-of practice. No previous queen figured so prominently in her husband's lifetime. Just as many images of Amenhotep III show him as a god, this head of Queen Tiye shows her as a goddess. The attributes of the goddess Hathor - cow horns and sun disks - on her headdress emphasize her role as the king's divine, as well as earthly, partner. She even has the king's facial features. In contrast, the large enveloping wig, encircled by a floral wreath and a band of rosettes, is not a conventional goddess's hairdo but that of a contemporary lady of fashion. The combination of divine and queenly attributes intentionally blurs the lines between deity and mortal ruler.The head was acquired in the Sudan and is carved of Sudanese stone. It very likely comes from Amenhotep III's temple to his queen at Sedeinga in northern Sudan, where Tiye was worshipped as a form of Hathor. Her memory survives there today in the name of the neighboring village, which is locally known as Adey, from Hut Tiye, "the mansion of Tiye." The temple at Sedeinga was the pendant to Amenhotep III's own, larger temple at Soleb, about 14.5 kilometers (9 miles) to the south. Indeed, the emphasis on the queen's role as the king's divine female counterpart provided the model for Nefertiti in the reign of Amenhotep IV (Akhenaten) and anticipated the divine queens of the Ptolemaic Dynasty.http://collections.mfa.org/objects/46188/rdfhttp://collections.mfa.org/internal/media/dispatcher/799065/resize%3Aformat%3DfullHindu Ballet, No. 21913Léon Nikolaievitch BakstOpaque and transparent watercolor, silver paint, and graphite pencil on paperhttp://collections.mfa.org/objects/251574/rdfhttp://collections.mfa.org/internal/media/dispatcher/953085/resize%3Aformat%3DfullHope1896Sir Edward Coley Burne-JonesOil on canvashttp://collections.mfa.org/objects/32751/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030883/resize%3Aformat%3DfullInfanta Maria Theresa1653Diego Rodríguez de Silva y VelázquezOil on canvashttp://collections.mfa.org/objects/31928/rdfhttp://collections.mfa.org/internal/media/dispatcher/941360/resize%3Aformat%3DfullIsabella and the Pot of Basil1897John White AlexanderOil on canvashttp://collections.mfa.org/objects/31098/rdfhttp://collections.mfa.org/internal/media/dispatcher/1345992/resize%3Aformat%3DfullLa Japonaise (Camille Monet in Japanese Costume)1876Claude MonetOil on canvashttp://collections.mfa.org/objects/33556/rdfhttp://collections.mfa.org/internal/media/dispatcher/1350653/resize%3Aformat%3DfullJessica1890Dennis Miller BunkerOil on canvashttp://collections.mfa.org/objects/31024/rdfhttp://collections.mfa.org/internal/media/dispatcher/840115/resize%3Aformat%3DfullA Lady with Black Gloves powdering her Facemid-19th to early 20th centuryJules ChéretColored crayon and India ink over graphite pencil on tan wove paperhttp://collections.mfa.org/objects/156989/rdfhttp://collections.mfa.org/internal/media/dispatcher/891522/resize%3Aformat%3Dfull"La Joueuse de Théorbe - Manteau du soir de Paquin," plate 18 from Gazette du Bon Ton, Volume 1, No. 2February 1914George BarbierPhotomechanical lithograph with hand-applied color (pochoir)Manteau du soir de Paquin en velours noir et velours rose, garni de dentelle d'argent et bordé de renard gris aux manches et au bas de la jupe.http://collections.mfa.org/objects/444026/rdfhttp://collections.mfa.org/internal/media/dispatcher/774969/resize%3Aformat%3DfullThe Lampabout 1891Mary Stevenson CassattDrypoint, soft ground etching and aquatint in colorTrial proof D.http://collections.mfa.org/objects/110145/rdfhttp://collections.mfa.org/internal/media/dispatcher/897362/resize%3Aformat%3Dfull"La Promeneuse Mélancolique - Robe d'après-midi, de Beer," plate 63 from Gazette du Bon Ton, Volume 2, No. 8October 1922George BarbierLithograph with hand-applied color (pochoir)De Beer, une robe d'après-midi, eb crèpe; col, manchettes et ceinture en mousseline ornée de dentelle d'or.http://collections.mfa.org/objects/450516/rdfhttp://collections.mfa.org/internal/media/dispatcher/764457/resize%3Aformat%3DfullLeisure1910William Worcester ChurchillOil on canvashttp://collections.mfa.org/objects/31429/rdfhttp://collections.mfa.org/internal/media/dispatcher/774961/resize%3Aformat%3DfullThe Letter1890–91Mary Stevenson CassattDrypoint and color aquatintTrial proof Bhttp://collections.mfa.org/objects/110148/rdfhttp://collections.mfa.org/internal/media/dispatcher/1555838/resize%3Aformat%3DfullLouise Pomeroy Inches (Mrs. Charles E. Inches)1887John Singer SargentOil on canvashttp://collections.mfa.org/objects/35295/rdfhttp://collections.mfa.org/internal/media/dispatcher/1494003/resize%3Aformat%3DfullLullaby: Madame Augustine Roulin Rocking a Cradle (La Berceuse)1889Vincent van GoghOil on canvashttp://collections.mfa.org/objects/33277/rdfhttp://collections.mfa.org/internal/media/dispatcher/774799/resize%3Aformat%3DfullMadame Bartet as Bérénice1913Léon Nikolaievitch BakstOpaque and transparent watercolor, gold paint, and graphite pencil on paperhttp://collections.mfa.org/objects/229302/rdfhttp://collections.mfa.org/internal/media/dispatcher/1494197/resize%3Aformat%3DfullMadame Cézanne in a Red Armchairabout 1877Paul CézanneOil on canvashttp://collections.mfa.org/objects/32912/rdfhttp://collections.mfa.org/internal/media/dispatcher/897654/resize%3Aformat%3Dfull"Manteau de Libeline à col et poignets de renard blanc," plate 30 from Journal des Dames et des Modes1912George BarbierEtching with hand-applied color (pochoir)http://collections.mfa.org/objects/116367/rdfhttp://collections.mfa.org/internal/media/dispatcher/852099/resize%3Aformat%3DfullLa Marguerite1853William Morris HuntOil on canvashttp://collections.mfa.org/objects/31295/rdfhttp://collections.mfa.org/internal/media/dispatcher/988355/resize%3Aformat%3DfullMartha Dana (later Mrs. William Mercer)1899Anders Leonard ZornOil on canvashttp://collections.mfa.org/objects/32314/rdfhttp://collections.mfa.org/internal/media/dispatcher/961875/resize%3Aformat%3DfullMary Sears (later Mrs. Francis Shaw)1878Joseph Florentin Léon BonnatOil on canvashttp://collections.mfa.org/objects/32398/rdfhttp://collections.mfa.org/internal/media/dispatcher/1317492/resize%3Aformat%3DfullMask of Queen Malakaye664–653 B.C.Gilt silverGilded silver mask of Queen Malakaye who wears a striated wig and broadcollar.http://collections.mfa.org/objects/142605/rdfhttp://collections.mfa.org/internal/media/dispatcher/1105836/resize%3Aformat%3DfullMeditationabout 1872Alfred StevensOil on canvashttp://collections.mfa.org/objects/32076/rdfhttp://collections.mfa.org/internal/media/dispatcher/970862/resize%3Aformat%3DfullLa Mélancolique1909Jules PascinOil on panelhttp://collections.mfa.org/objects/338470/rdfhttp://collections.mfa.org/internal/media/dispatcher/1541210/resize%3Aformat%3DfullMercy Otis Warren (Mrs. James Warren)about 1763John Singleton CopleyOil on canvashttp://collections.mfa.org/objects/32409/rdfhttp://collections.mfa.org/internal/media/dispatcher/1350737/resize%3Aformat%3DfullMiss F.about 1915Ernest Lee MajorOil on canvashttp://collections.mfa.org/objects/34655/rdfhttp://collections.mfa.org/internal/media/dispatcher/687256/resize%3Aformat%3DfullMrs. Duffee Seated on a Striped Sofa, Reading1876Mary Stevenson CassattOil on panelhttp://collections.mfa.org/objects/33252/rdfhttp://collections.mfa.org/internal/media/dispatcher/765886/resize%3Aformat%3DfullMrs. Howard Cushing (Ethel Cochrane) (The Mandarin Coat)1904Howard Gardiner CushingOil on canvashttp://collections.mfa.org/objects/31668/rdfhttp://collections.mfa.org/internal/media/dispatcher/694341/resize%3Aformat%3DfullMrs. James Henry Lancashire (Sarah Hale Wright)about 1910Ignaz Marcel GaugengiglOil on canvashttp://collections.mfa.org/objects/34576/rdfhttp://collections.mfa.org/internal/media/dispatcher/611101/resize%3Aformat%3DfullMrs. J. Borden Harriman Opens the Campaign for Woodrow Wilson1912Unidentified artist, American, 20th centuryPhotograph, gelatin silver printhttp://collections.mfa.org/objects/172426/rdfhttp://collections.mfa.org/internal/media/dispatcher/688170/resize%3Aformat%3DfullMrs. Robert Restiaux Kent (Eliza F. Watson)about 1867William RimmerOil on canvashttp://collections.mfa.org/objects/33364/rdfhttp://collections.mfa.org/internal/media/dispatcher/798267/resize%3Aformat%3DfullThe New Necklace1910William McGregor PaxtonOil on canvashttp://collections.mfa.org/objects/31974/rdfhttp://collections.mfa.org/internal/media/dispatcher/1016162/resize%3Aformat%3DfullOil flask (lekythos) with a woman working woolabout 480–470 B.C.the Brygos PainterCeramic, Red FigureAn elegant woman is seated pulling out a skein of wook from her wool basket (kalathos). She wears earrings, bracelets on both arms, a diadem, and an Ionic chiton and himation. She has an elaborate hairstyle, with part of her hair tied up in a bun, and long strands pulled down in the front. She pulls a long strip of wool out of a basket on ground before her. A hair-bag (sakkos) and mirror are hung up in field. The mirror is decorated with a head in profile drawn in outline, which probably represents a relief on the back of the mirror. The object hanging off her chair may be a wool-carder. Above her in the field is the Greek inscription: "the girl [is pretty])" (HE PAIS KALE).http://collections.mfa.org/objects/153786/rdfhttp://collections.mfa.org/internal/media/dispatcher/1028723/resize%3Aformat%3DfullOlivia Buckminster Lothrop (Mrs. Lewis William Tappan, Jr.)mid–1860sWilliam Morris HuntOil on canvashttp://collections.mfa.org/objects/32283/rdfhttp://collections.mfa.org/internal/media/dispatcher/1165862/resize%3Aformat%3DfullThe Open Window1921Elizabeth Vaughan Okie PaxtonOil on canvashttp://collections.mfa.org/objects/37403/rdfhttp://collections.mfa.org/internal/media/dispatcher/1105839/resize%3Aformat%3DfullOphelia1926Arthur Prince SpearOil on canvasReproduced with permission.http://collections.mfa.org/objects/34838/rdfhttp://collections.mfa.org/internal/media/dispatcher/1460923/resize%3Aformat%3DfullPark Benchabout 1890William Merritt ChaseOil on canvashttp://collections.mfa.org/objects/33390/rdfhttp://collections.mfa.org/internal/media/dispatcher/1084721/resize%3Aformat%3DfullPeasant Girl Catching a Fleaabout 1715Giovanni Battista PiazzettaOil on canvashttp://collections.mfa.org/objects/32966/rdfhttp://collections.mfa.org/internal/media/dispatcher/765913/resize%3Aformat%3DfullPortrait of a Smiling Girl with Mayflowers1863–1903James Wells ChampneyPastel on paperGirl in pink short-sleeved dress seated in black chair, holding flowers in right hand. Body in profile, turning to face viewer.http://collections.mfa.org/objects/185269/rdfhttp://collections.mfa.org/internal/media/dispatcher/1583386/resize%3Aformat%3DfullPortrait of a Woman Wearing a Gold Chain1634Rembrandt Harmensz. van RijnOil on panelhttp://collections.mfa.org/objects/31040/rdfhttp://collections.mfa.org/internal/media/dispatcher/1082605/resize%3Aformat%3DfullPortrait of a Woman with a Pearl Necklaceprobably 1485–1495Lorenzo CostaOil on panelhttp://collections.mfa.org/objects/32203/rdfhttp://collections.mfa.org/internal/media/dispatcher/801319/resize%3Aformat%3DfullPortrait of a Young Womanabout 1797Marie Louise Elisabeth Vigée-Le BrunOil on canvashttp://collections.mfa.org/objects/31704/rdfhttp://collections.mfa.org/internal/media/dispatcher/1109881/resize%3Aformat%3DfullPortrait of a Young Woman as Flora1633Paulus MoreelseOil on panelhttp://collections.mfa.org/objects/32969/rdfhttp://collections.mfa.org/internal/media/dispatcher/782388/resize%3Aformat%3DfullPoster for N. Lembrée, Estampes & Encadrements....Brussels1897Theodore van RysselbergheColor lithographhttp://collections.mfa.org/objects/271734/rdfhttp://collections.mfa.org/internal/media/dispatcher/1618779/resize%3Aformat%3DfullPriscillaabout 1873William Morris HuntOil on canvashttp://collections.mfa.org/objects/33903/rdfhttp://collections.mfa.org/internal/media/dispatcher/808253/resize%3Aformat%3DfullReading on the Rocks, Grand Mananabout 1877John George BrownOil on canvashttp://collections.mfa.org/objects/33709/rdfhttp://collections.mfa.org/internal/media/dispatcher/897668/resize%3Aformat%3Dfull"Rendez-Vous Villa Gori - Robe et manteau, de Worth," plate 66 from Gazette du Bon Ton, No. 91924–25George BarbierLithograph with hand-applied color (pochoir)http://collections.mfa.org/objects/450984/rdfhttp://collections.mfa.org/internal/media/dispatcher/1133379/resize%3Aformat%3DfullReverie (Katharine Finn)1913Edmund C. TarbellOil on canvashttp://collections.mfa.org/objects/32466/rdfhttp://collections.mfa.org/internal/media/dispatcher/1125538/resize%3Aformat%3DfullRomanian Lady1882Frederic Arthur BridgmanOil on canvashttp://collections.mfa.org/objects/34251/rdfhttp://collections.mfa.org/internal/media/dispatcher/1110837/resize%3Aformat%3DfullRoom in Brooklyn1932Edward HopperOil on canvashttp://collections.mfa.org/objects/32499/rdfhttp://collections.mfa.org/internal/media/dispatcher/1105837/resize%3Aformat%3DfullSaint Catherine1896Mary Lizzie MacomberOil on canvashttp://collections.mfa.org/objects/31099/rdfhttp://collections.mfa.org/internal/media/dispatcher/1105835/resize%3Aformat%3DfullSea Breezeabout 1880George Henry BoughtonOil on panelhttp://collections.mfa.org/objects/31550/rdfhttp://collections.mfa.org/internal/media/dispatcher/981883/resize%3Aformat%3DfullSeated dancerlate 4th century A.D.Silver with gold detailsSeated female dancer putting on her right slipper. She sits on a stool that is set on a rectangular base with lion headed supports. Her hair is braided and wrapped up around her head. Gilded details include: Hair, sleeve-cuffs and belt of short chiton, bracelets, slippers, top and lower rim of hassock, lion-head corner supports of base. Hollow cast.Clothing Details: she wears a chitoniskos, a short version of the traditional long chiton, which is hitched up by a belt and worn knee length or above and usually worn by young girls and athletes. The ovals on her shoulders are the openings were the two pieces are held together. The wide, short chiton/tunic falls over the shoulders and end at the line of her armlets; she is also wearing bracelets articulated by gilding.http://collections.mfa.org/objects/155698/rdfhttp://collections.mfa.org/internal/media/dispatcher/987002/resize%3Aformat%3DfullSelf Portrait1830Sarah GoodridgeWatercolor on ivoryhttp://collections.mfa.org/objects/31073/rdfhttp://collections.mfa.org/internal/media/dispatcher/1225868/resize%3Aformat%3DfullSimplon Pass: Readingabout 1911John Singer SargentTranslucent and opaque watercolor, with wax resist, over graphite on paperhttp://collections.mfa.org/objects/226731/rdfhttp://collections.mfa.org/internal/media/dispatcher/1225859/resize%3Aformat%3DfullSimplon Pass: The Green Parasolabout 1911John Singer SargentTranslucent and opaque watercolor, with wax resist, over graphite on paperhttp://collections.mfa.org/objects/226729/rdfhttp://collections.mfa.org/internal/media/dispatcher/1225870/resize%3Aformat%3DfullSimplon Pass: The Teaseabout 1911John Singer SargentTranslucent and opaque watercolor, with wax resist, over graphite on paperhttp://collections.mfa.org/objects/5160/rdfhttp://collections.mfa.org/internal/media/dispatcher/927799/resize%3Aformat%3DfullStatue of Lady Sennuwy1971–1926 B.C.GranodioriteEgyptian officials of the Middle Kingdom continued the practice of equipping their tombs with statues to house the ka of the tomb owner and to provide a focal point for the offering cult. Highly ranked officials also dedicated statues of themselves at sanctuaries of gods and deified ancestors. Following the experimental and idiosyncratic interlude of the First Intermediate Period, sculptors once again produced large-scale stone statues, returning to the basic forms and poses established in the Old Kingdom.This elegant seated statue of Lady Sennuwy of Asyut is one of the most superbly carved and beautifully proportioned sculptures from the Middle Kingdom. The unknown artist shaped and polished the hard, gray granodiorite with extraordinary skill, suggesting that he was trained in a royal workshop. He has portrayed Sennuwy as a slender, graceful young woman, dressed in the tightly fitting sheath dress that was fashionable at the time. The carefully modeled planes of the face, framed by a long, thick, striated wig, convey a serene confidence and timeless beauty. Such idealized, youthful, and placid images characterize the first half of Dynasty 12 and hark back to the art of the Old Kingdom. Sennuwy sits poised and attentive on a solid, blocklike chair, with her left hand resting flat on her lap and her right hand holding a lotus blossom, a symbol of rebirth. Inscribed on the sides and base of the chair are hieroglyphic texts declaring that she is venerated in the presence of Osiris and other deities associated with the afterlife.Sennuwy was the wife of a powerful provincial governor, Djefaihapi of Asyut, whose rock-cut tomb is the largest nonroyal tomb of the Middle Kingdom. Clearly, the couple had access to the finest artists and materials available. It is likely that this statue, along with a similar sculpture of Djefaihapi, was originally set up in the tomb chapel, although they may also have stood in a sanctuary. Both statues were discovered, however, far to the south at Kerma in Nubia, where they had been buried in the royal tumulus of a Nubian king who lived generations after Sennuwy's death. They must have been removed from their original location and exported to Nubia some three hundred years after they were made. Exactly how, why, and when these pieces of sculpture, along with numerous other Egyptian statues, found their way to Kerma, however, is still unknown.http://collections.mfa.org/objects/141967/rdfhttp://collections.mfa.org/internal/media/dispatcher/981886/resize%3Aformat%3DfullStatuette of a woman, possibly dancingabout 500 B.C.BronzeWoman advancing on the left foot, moving to the side, elbows bent, the left arm swung out, and the right swung back. She is possibly dancing. The position of the legs, arms and the floating of the sleeves emphasize the lively movement of the figure. She dresses a tight-fitting ankle-length embroidered tunic with elbow sleeves, a pointed cap and closed shoes (Etruscan calcei). Under the tunic the body shape is visible. The cloth decoration is rendered with incised lines, dots and circles. An elaborate necklace is also rendered in a similar way. The elongated hands are a recurrent stylistic features of Etruscan votive statuettes of the late archaic period. This stylistic element could have been functional to emphasize the grace of the hands that dances and offer gifts or prayers to the gods. She has prominent eyes and ears. Figure was solid cast in one piece; toe of the right foot has been filed off. Surface is moderately corroded; brownish patina on head, with olive green on body.http://collections.mfa.org/objects/152837/rdfhttp://collections.mfa.org/internal/media/dispatcher/1494299/resize%3Aformat%3DfullStreet Singerabout 1862Edouard ManetOil on canvashttp://collections.mfa.org/objects/33971/rdfhttp://collections.mfa.org/internal/media/dispatcher/961880/resize%3Aformat%3DfullStudy of a Young Woman's Headabout 1895Sir Edward Coley Burne-JonesOil on canvashttp://collections.mfa.org/objects/31262/rdf