http://collections.mfa.org/collections/315229/objects/rdfMFA Images: Romancehttp://collections.mfa.org/internal/media/dispatcher/1544099/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/894854/resize%3Aformat%3Dfull"A. Janesich, Joaillier," advertisement from Gazette du Bon Ton, Volume 1, No. 4, p. XXXIIMay 1920Edouard HalouzePhotomechanical lithograph with hand-applied color (pochoir)http://collections.mfa.org/objects/447395/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/1544138/resize%3Aformat%3DfullBoating Couple (said to be Aline Charigot and Renoir)about 1881Pierre-Auguste RenoirPastel on paperhttp://collections.mfa.org/objects/33686/rdfhttp://collections.mfa.org/internal/media/dispatcher/880440/resize%3Aformat%3DfullBrides, from an unidentified Wedding seriesArtist unknown, JapaneseColor lithograph; ink and metallic pigment on card stockhttp://collections.mfa.org/objects/435043/rdfhttp://collections.mfa.org/internal/media/dispatcher/898047/resize%3Aformat%3DfullCelebrating Couple: General Jackson and his Ladyabout 1831Rev. Henry YoungPen and brown ink and watercolor on brown paperFolk Art- fraktur. Man and woman holding hands over small table. Woman in yellow dress, man holding wine glass.http://collections.mfa.org/objects/173602/rdfhttp://collections.mfa.org/internal/media/dispatcher/1225856/resize%3Aformat%3DfullCorfu: A Rainy Day1909John Singer SargentTranslucent watercolor, with touches of opaque watercolor, over graphite on paperhttp://collections.mfa.org/objects/226726/rdfhttp://collections.mfa.org/internal/media/dispatcher/1596136/resize%3Aformat%3DfullCouple with a Standing Screenabout 1797 (Kansei 9)Kitagawa Utamaro IWoodblock print (nishiki-e); ink and color on paperMFA impressions: 18.308, 21.6610http://collections.mfa.org/objects/155952/rdfhttp://collections.mfa.org/internal/media/dispatcher/774919/resize%3Aformat%3DfullCupid and Psycheabout 1870Adolphe BraunPhotograph, carbon printhttp://collections.mfa.org/objects/265306/rdfhttp://collections.mfa.org/internal/media/dispatcher/1544099/resize%3Aformat%3DfullDance at Bougival1883Pierre-Auguste RenoirOil on canvashttp://collections.mfa.org/objects/32592/rdfhttp://collections.mfa.org/internal/media/dispatcher/757368/resize%3Aformat%3DfullDante and Beatrice, study for The Rose Gardenbefore 1861Dante Gabriel RossettiGraphite on heavy cream wove paperPreliminary sketch for The Rose Garden and titlepage of "The Early Italian Poets". Verso has graphite drapery study for the figure of Beatrice.http://collections.mfa.org/objects/258681/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/757460/resize%3Aformat%3DfullThe Early Italian Poets (study for title page)1861Dante Gabriel RossettiPen and brown ink on cream laid paperDesign for titlepage of first editionhttp://collections.mfa.org/objects/258682/rdfhttp://collections.mfa.org/internal/media/dispatcher/757461/resize%3Aformat%3DfullThe Early Italian Poets (study for title page)1861Dante Gabriel RossettiPen and black ink over graphite on heavy cream wove paperDesign for titlepagehttp://collections.mfa.org/objects/258683/rdfhttp://collections.mfa.org/internal/media/dispatcher/897326/resize%3Aformat%3Dfull"Espérez - Robe du soir, de Worth," plate 48 from Gazette du Bon Ton, Volume 2, No. 6July 1922George BarbierLithograph with hand-applied color (pochoir)De Worth, une robe du soir en mousseline cirée noire, brodée de perles corail et or, avec grand motif de pierres précieuses.http://collections.mfa.org/objects/450461/rdfhttp://collections.mfa.org/internal/media/dispatcher/774804/resize%3Aformat%3DfullFalbalas et fanfreluches. Almanach des modes présentes, passées et futures pour 1922[–1926]1922–26George BarbierIllustrated book with 60 hand-colored etching and aquatints, plus original wrappers(Paris: Meynial [1922-1926]) Quarto; five vols. bound together, each made up of original publisher's pictorial wrappers, title, 12 pages, plus 12 plates; modern gilt-stamped half brown morocco, marbled paper boards.Illustrations of fashions from different historical periods.http://collections.mfa.org/objects/168048/rdfhttp://collections.mfa.org/internal/media/dispatcher/775108/resize%3Aformat%3DfullFlora's Feast: A masque of flowerspublished 1889Walter CraneIllustrated bookLondon, Cassell and Co., 1889http://collections.mfa.org/objects/262317/rdfhttp://collections.mfa.org/internal/media/dispatcher/1011814/resize%3Aformat%3DfullThe Gerson Sisters1906Gertrude KäsebierPhotograph, platinum printThe Gerson Sisters, dressed for the Crinoline Ball in New Yorkhttp://collections.mfa.org/objects/172454/rdfhttp://collections.mfa.org/internal/media/dispatcher/780357/resize%3Aformat%3DfullGirl in Satin Dress with RosesGertrude KäsebierPhotograph, carbon - or gum dichromate print [est]http://collections.mfa.org/objects/172493/rdfhttp://collections.mfa.org/internal/media/dispatcher/1250058/resize%3Aformat%3DfullHaymaker and Sleeping Girlabout 1788Thomas GainsboroughOil on canvashttp://collections.mfa.org/objects/33507/rdfhttp://collections.mfa.org/internal/media/dispatcher/898156/resize%3Aformat%3DfullKing Menkaura (Mycerinus) and queen2490–2472 B.C.GreywackeAt twilight on January 18, 1910, a young boy beckoned George Reisner to the Menkaura Valley Temple. There, emerging from a robbers' pit into which it had been discarded were the tops of two heads of a pair statue, perfectly preserved and nearly life-size. This was the modern world's first glimpse of one of humankind's artistic masterworks, the statue of Menkaura and queen.The two figures stand side-by-side, gazing into eternity. He represents the epitome of kingship and the ideal human male form. She is the ideal female. He wears the nemes on his head, a long artificial beard, and a wraparound kilt with central tab, all of which identify him as king. In his hand he clasps what may be abbreviated forms of the symbols of his office. His high cheekbones, bulbous nose, slight furrows running diagonally from his nose to the corners of his mouth, and lower lip thrust out in a slight pout, may be seen on her as well, although her face has a feminine fleshiness, which his lacks. Traces of red paint remain on his face and black paint on her wig.His broad shoulders, taut torso, and muscular arms and legs, all modeled with subtlety and restraint, convey a latent strength. In contrast, her narrow shoulders and slim body, whose contours are apparent under her tight-fitting sheath dress, represent the Egyptian ideal of femininity. As is standard for sculptures of Egyptian men, his left foot is advanced, although all his weight remains on the right foot. Typically, Egyptian females are shown with both feet together, but here, the left foot is shown slightly forward. Although they stand together sharing a common base and back slab, and she embraces him, they remain aloof and share no emotion, either with the viewer or each other.Who is represented here? The base of the statue which is usually inscribed with the names and titles of the subject represented, was left unfinished and never received the final polish of most of the rest of the statue. Because it was found in Menkaura's Valley Temple and because it resembles other statues from the same findspot bearing his name, there is no doubt that the male figure is King Menkaura. Reisner suggested that the woman was Queen Khamerernebty II, the only of Menkaura's queens known by name. She, however, had only a mastaba tomb, while two unidentified queens of Menkaura had small pyramids. Others have suggested that she represents the goddess Hathor, although she exhibits no divine attributes. Because later kings are often shown with their mothers, still other scholars have suggested that the woman by Menkaura's side may be his mother. However, in private sculptures when a man and woman are shown together and their relationship is indicated, they are most often husband and wife. Because private sculpture is modeled after royal examples, this suggests that she is indeed one of Menkaura's queens, but ultimately, the name of the woman represented in this splendid sculpture may never be known.http://collections.mfa.org/objects/230/rdfhttp://collections.mfa.org/internal/media/dispatcher/1020918/resize%3Aformat%3DfullKrishna and his favorite shelter from a stormabout 1825The Family of NainsukhOpaque watercolor and gold on paperhttp://collections.mfa.org/objects/149055/rdfhttp://collections.mfa.org/internal/media/dispatcher/895911/resize%3Aformat%3Dfull"La Premiere Imprudence - Robe du soir, de Beer," plate 15 from Gazette du Bon Ton, Volume 1, No. 2February 1921George BarbierEngraving with hand-applied color (pochoir)Voici une robe du soir, de Beer, en charmeuse verte brodée de jais blanc et de jais noir.http://collections.mfa.org/objects/448926/rdfhttp://collections.mfa.org/internal/media/dispatcher/783316/resize%3Aformat%3Dfull"Le Baiser du Porion" (Two lovers)Armand Louis RassenfosseIntaglio (color printing)L'Amour en Pays Noir". Plate: 7 1/2 x 5 in. Sheet: 13 3/8 x 9 7/8 in. With hand-coloring.http://collections.mfa.org/objects/102231/rdfhttp://collections.mfa.org/internal/media/dispatcher/808260/resize%3Aformat%3Dfull"Le Départ pour le Casino - Manteau du soir, de Worth," plate 13 from Gazette du Bon Ton, No. 3September 1923George BarbierLithograph with hand-applied color (pochoir)http://collections.mfa.org/objects/450775/rdfhttp://collections.mfa.org/internal/media/dispatcher/895938/resize%3Aformat%3Dfull"Les Amants de Torquate," plate 34 from Gazette du Bon Ton, Volume 1, No. 5May 1921Charles MartinEngraving with hand-applied color (pochoir)Les amants de Torquate: L'amant est vêtu un peu à la façon d'un "pelotari" (dame!), l'amante habillé d'organdina, qui va bien à la jeunesse et à la saison printanière régnant continuellement à Torquate, île fortunée.http://collections.mfa.org/objects/449343/rdfhttp://collections.mfa.org/internal/media/dispatcher/845437/resize%3Aformat%3Dfull"L'Étoile du Berger - Manteau de fourrure, de Max-A. Leroy," plate 47 from Gazette du Bon Ton, No. 9May 1924Charles MartinLithograph with hand-applied color (pochoir)http://collections.mfa.org/objects/450847/rdfThe Loversabout 1755Longton Hall ManufactorySoft-paste porcelainA pair of dancers on a puce and green pedestal. Man in black hat. White waistcoat with red designs, gold edge and buttons. Yellow coat lined white, brownsleeves, puce cuffs and breeches. Black shoes yellow bows. White bodice gok d edge at neck, green braid, puce sleeves gokd bands and yellow cuffs. Red s carf on right shoulder and left hip yellow skirt, flowered white apron held inleft hand. Puce shoes.http://collections.mfa.org/objects/54477/rdfhttp://collections.mfa.org/internal/media/dispatcher/799816/resize%3Aformat%3DfullThe Lovers1913Käthe KollwitzPlasterPlaster model. Seated figure holds youth in lap.http://collections.mfa.org/objects/59576/rdfhttp://collections.mfa.org/internal/media/dispatcher/1039675/resize%3Aformat%3DfullLovers in a Landscapesecond half of 16th centuryOpaque watercolor on paperhttp://collections.mfa.org/objects/13878/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030849/resize%3Aformat%3DfullLovers (mithuna)13th centuryIvoryhttp://collections.mfa.org/objects/23009/rdfhttp://collections.mfa.org/internal/media/dispatcher/947283/resize%3Aformat%3DfullLovers under an Umbrella in the Snoworiginal design about 1766–67 (Meiwa 3–4); later copy?Suzuki HarunobuWoodblock print (nishiki-e); ink and color on paperMFA impressions: 21.4403 (Meiji reproduction?), 21.4530 (first state?)http://collections.mfa.org/objects/232080/rdfhttp://collections.mfa.org/internal/media/dispatcher/774954/resize%3Aformat%3DfullThe Love Song (Le Chant d'Amour)1865Sir Edward Coley Burne-JonesTransparent and opaque watercolor on wove paperhttp://collections.mfa.org/objects/4460/rdfhttp://collections.mfa.org/internal/media/dispatcher/1751751/resize%3Aformat%3DfullMars and Venusabout 1630Nicolas PoussinOil on canvashttp://collections.mfa.org/objects/32734/rdfhttp://collections.mfa.org/internal/media/dispatcher/609893/resize%3Aformat%3DfullMartha Pickman Rogers in Her Wedding Gown1850Southworth and HawesPhotograph, daguerreotypeWife of John Amory Codman; wearing wedding gown; married in 1850Mother of Martha Catherine Codmanhttp://collections.mfa.org/objects/168509/rdfhttp://collections.mfa.org/internal/media/dispatcher/779980/resize%3Aformat%3DfullMusical Comedy - Dancing1912Charles DemuthWatercolor over graphite pencil on paperhttp://collections.mfa.org/objects/261379/rdfhttp://collections.mfa.org/internal/media/dispatcher/836797/resize%3Aformat%3DfullNew Year's Card: Dancing CoupleS. RiyoColor lithograph; ink and metallic pigment on card stockhttp://collections.mfa.org/objects/400130/rdfhttp://collections.mfa.org/internal/media/dispatcher/805959/resize%3Aformat%3DfullNew Year's Card: Modern Couple DancingDazai AtsuoColor lithograph; ink and metallic pigment on coated card stockhttp://collections.mfa.org/objects/394626/rdfhttp://collections.mfa.org/internal/media/dispatcher/1062541/resize%3Aformat%3DfullNight on the El Train1918Edward HopperEtchinghttp://collections.mfa.org/objects/4430/rdfhttp://collections.mfa.org/internal/media/dispatcher/894852/resize%3Aformat%3Dfull"Nous Sommes a l'Heure," advertisement from Gazette du Bon Ton, Volume 1, No. 4, p. XXIXMay 1920Edouard HalouzePhotomechanical lithograph with hand-applied color (pochoir)http://collections.mfa.org/objects/447393/rdfhttp://collections.mfa.org/internal/media/dispatcher/913782/resize%3Aformat%3DfullPainter's Honeymoonabout 1864Frederic, Lord LeightonOil on canvashttp://collections.mfa.org/objects/34445/rdfhttp://collections.mfa.org/internal/media/dispatcher/1017845/resize%3Aformat%3DfullPair statue of Ptahkhenuwy and his wife2465–2323 B.C.Painted limestonePrivate sculpture of the Old Kingdom copied royal sculpture: the poses, youthful body forms, and the wife's embrace of the husband in this private sculpture is the same as those of King Menkaura and his queen in their dyad. The man here is identified by an inscription painted on the base in black paint as Ptahkhenwy, supervisor of palace retainers. He stands with his left leg forward in the traditional male pose, and his partner, her name no longer legible in the inscription and identified now only as "his wife whom he loved," stands beside him with both feet together. Most Egyptian sculpture was painted, but all too often the paint has not survived. Fortunately, such is not the case with this statue. The husband's skin is red ochre, the traditional color for men, whose work outside would have left them sunburned. The wife's yellow-ochre skin reflects the traditional role of women inside the house. Both their facial features are the same. Neither is a true portrait, but rather an idealized likeness of how each wished to be remembered for eternity. Negative space between the couple and the base is painted dark gray. The garments of the pair are white, to reflect the color of the undyed linen from which they were made. She wears a V-neck sheath dress that was customary for a woman of the Old Kingdom. It clings so tightly here that it reveals every aspect of her body beneath. Walking would have been impossible. Surviving examples show that in reality, such garments were much looser. He wears a knee-length, wraparound kilt, the most common garment for men. Jewelry added bright splashes of color. Both wear broadcollars, brightly painted to imitate semiprecious stone or faience. She wears two anklets and a bracelet in addition, making up a parure that is strikingly similar to actual jewelry found in Old Kingdom tombs. His black wig is composed of curls cut in rows. Natural black hair peeks out from beneath her black wig, which is parted in the center and reaches to shoulder level. The statue was found in the serdab of the couple's tomb and was one of the first objects to be excavated by the Harvard University-Museum of Fine Arts Expedition. The excitement of the Museum Trustees when it first arrived in Boston played a key role in their decision to commit to funding further excavations.http://collections.mfa.org/objects/137139/rdfhttp://collections.mfa.org/internal/media/dispatcher/774698/resize%3Aformat%3DfullThe Partingabout 1840Unidentified artist, American, 19th centuryWatercolor and stencil with graphite on paperFolk art- various. stencil and watercolor with sponge technique; Lady and gentleman taking leave of each other under tree right in conventionalized landscape. Probably after a print such as D. W. Kellog lighograph "The Departure" (1833-42).http://collections.mfa.org/objects/288419/rdfhttp://collections.mfa.org/internal/media/dispatcher/899979/resize%3Aformat%3DfullA Pavane1897Edwin Austin AbbeyOil on canvashttp://collections.mfa.org/objects/447433/rdfhttp://collections.mfa.org/internal/media/dispatcher/1177985/resize%3Aformat%3DfullPortrait of a Young Married Coupleabout 1621–22Jacob JordaensOil on panelhttp://collections.mfa.org/objects/31681/rdfhttp://collections.mfa.org/internal/media/dispatcher/1032461/resize%3Aformat%3DfullPromise of Spring1890Sir Lawrence Alma-TademaOil on panelhttp://collections.mfa.org/objects/32674/rdfhttp://collections.mfa.org/internal/media/dispatcher/923255/resize%3Aformat%3DfullRelief of heads of a man and a woman760–525 B.C.LimestoneLimestone slab with upper portion of man and woman facing right, in low relief. Traces of color. In front of male head [=unable to enter mark=]; and behind it [=unable to enter mark=].http://collections.mfa.org/objects/148440/rdfhttp://collections.mfa.org/internal/media/dispatcher/839971/resize%3Aformat%3DfullRoundel with busts of a man and a womanabout A.D. 250–270Marble, probably from the Greek island of ParosThe man is in a toga contabulata with a rotulus or scroll in his left hand. The woman wears a billowing cloak and a tunic and places her left arm and hand around the shoulders of the man. There is no inscription, little weathering, some encrustation.http://collections.mfa.org/objects/313299/rdfhttp://collections.mfa.org/internal/media/dispatcher/891546/resize%3Aformat%3Dfull"Rugby - Costume tailleur de Redfern," plate 39 from Gazette du Bon Ton, Volume 1, No. 4April 1914George BarbierPhotomechanical lithograph with hand-applied color (pochoir)Tailleur de Redfern en cheviot neigeuse, orné de parements et de brandebourgs noirs. Le petit gilet et le col de la veste sont en ottoman.http://collections.mfa.org/objects/444102/rdfhttp://collections.mfa.org/internal/media/dispatcher/1337231/resize%3Aformat%3DfullSarcophagus and lid with husband and wife350–300 B.C.TravertineThe top of the cover takes the form of a bed with pillows, and a man and his wife embrace under a large sheet. She wears a complex earring and he a bracelet of twisted strands. There is no costume visible.On the long side below the man is a frieze with four pairs of Greeks and Amazons in combat. A bead-and-reel molding appears above, and simple pilasters frame the scenes on the corners. The other side, the long panel below the woman, has only a plain fillet molding above, suggesting it was the back of the sarcophagus proper. The frieze features two pairs of horsemen and foot soldiers in combat, with a warrior in fighting pose on foot in the center.On the left end (facing the frieze with Greeks and Amazons), two lions bring down a bull. The bead-and-reel molding is seen above. On the right end, two griffins are tearing into a fallen horse.The condition is, generally speaking, excellent, with some traces of a dark brown deposit and an overall light brown to yellow patina.The sarcophagus is inscribed for Thanchvil Tarnai and her husband Larth Tetnies, son of Arnth Tetnies and Ramtha Vishnai.http://collections.mfa.org/objects/151377/rdfhttp://collections.mfa.org/internal/media/dispatcher/1298121/resize%3Aformat%3DfullSarcophagus and lid with portraits of husband and wifeLate 4th–early 3rd century B.C.Volcanic tuffThe cover of the sarcophagus shows a man and woman lying nearly facing each other on a bed with pillows and a large sheet wrapped about them.The portrait of the man is of particular interest to the study of Etruscan (and Early Roman) portraiture, foreshadowing in many respects the Roman Republican portraiture which would, in considerable degree, devlop from the Etruscan form. The woman wears a double fillet or braids around her hair, a heart-shaped earring, and a long chiton with sleeves. It is difficult to tell what, if any, clothing the man was wearing, unless details of costume were added in paint. The pediments at each end of the lid have three ideal, female(?) heads in relief in rosettes.The front of the body shows a ceremony, interpreted by some as the couple's marriage and by others as their reunion in the afterlife. They clasp hands in the center, or (more precisely) he places his hand around her wrist, while he also holds a knotted staff in the left hand. Four attendants follow on either side. Those on the left comprise (from center to corner) a man with a tall staff, a lantern or jar suspended from it; a woman with a tray on her head and a pitcher in her lowered right hand; a woman with a large fan or flabellum and a situla in her lowered right hand; and a woman with a lyre and plectron. On the right appear a young man with a chair; another with a small stick or scepter; a third with a curved horn; and a woman with a wreath and double flutes.On the left end, two women, parasol over their heads, ride in a cart drawn by two mules driven by a male attendant. A winged spirit of death waves two snakes at them. On the right end, a bearded magistrate mounts a two-horse chariot, attended by a man with the pastoral staff or lituus.Since the man on the major front panel wears the Greek himation, it has been suggested that he is the heroized deceased, leading his wife to the underworld. If such be the case, she may have survived him to have her own separate procession on the left end, and the scene on the front thus may be taken as a symbolic "marriage" ceremony, the union with death and life in the underworld rather than merely in life on earth.The lid is broken across at the couple's legs and has been rejoined, with two small pieces missing. The body has cracks. There are minor chips and abrasions, but the general condition is excellent. The surfaces have a crusty brown patina.http://collections.mfa.org/objects/151378/rdfhttp://collections.mfa.org/internal/media/dispatcher/1064757/resize%3Aformat%3DfullScherzando1903Ignaz Marcel GaugengiglOil on panelhttp://collections.mfa.org/objects/32126/rdfhttp://collections.mfa.org/internal/media/dispatcher/681024/resize%3Aformat%3DfullThe Stolen Kiss1819Benjamin WestOil on canvashttp://collections.mfa.org/objects/32382/rdfhttp://collections.mfa.org/internal/media/dispatcher/891548/resize%3Aformat%3Dfull"Une honnête femme ne reçoit d'argent que de son mari... et de Maxima," advertisement from Gazette du Bon Ton, Volume 1, No. 5, p. IIIMay 1914Charles MartinPhotomechanical lithograph with hand-applied color (pochoir)http://collections.mfa.org/objects/447297/rdfhttp://collections.mfa.org/internal/media/dispatcher/1000100/resize%3Aformat%3DfullWoman and Flowers1868Sir Lawrence Alma-TademaOil on panelhttp://collections.mfa.org/objects/32766/rdfhttp://collections.mfa.org/internal/media/dispatcher/1039680/resize%3Aformat%3DfullA Young Man Offering a Cup of Wine to a Girl16th centuryAlbum leaf; painting and calligraphy on paperhttp://collections.mfa.org/objects/13883/rdfhttp://collections.mfa.org/internal/media/dispatcher/848205/resize%3Aformat%3DfullYoung Woman and Man on the Train (from an unidentified series)Artist unknown, JapaneseColor lithograph; ink and metallic pigment on card stockhttp://collections.mfa.org/objects/412506/rdfhttp://collections.mfa.org/internal/media/dispatcher/1490504/resize%3Aformat%3DfullYoung Woman Resting in a Music RoomAlfred StevensOil on canvashttp://collections.mfa.org/objects/34072/rdf