Max Beckmann. Brother and Sister (‘Bruder und Schwester’), 1933 (Stephan Lackner collection, USA).

Oil on canvas: ca. 133.4 x 99.1 cm.

More > Max Beckmann at Wikipedia.

Edgar Degas. Ballet Dancers on the Stage, 1883 (Dallas Museum of Art, Dallas).

 

Pastel on paper: 61.6 x 47.3 cm.

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Simon Vouet. St. Cecilia, ca. 1627 (Blanton Museum of Art, Austin).

 

Oil on canvas: 134.1 x 98.2 cm. Sancta Caecilia the Roman patroness of musicians.

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Christian Rex van Minnen. Dance in Fire, 2018 (artist’s portfolio).

Oil on panel: 61 x 76.2 cm. Christian Rex van Minnen (2014): “I think it’s interesting to take away the eyes and mouth. In a way it makes it easier on the viewer, myself included. It allows for a more prolonged voyeurism and freedom to explore the figure. Like staring at a blind man”.

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Visit > Christian Rex van Minnen at: Postmasters Gallery, Gallery Poulsen, Robischon Gallery, Richard Heller Gallery.
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Henri de Toulouse-Lautrec. At the Cirque Fernando (‘Rider on a white Horse’), ca. 1888 (Norton Simon Museum, Pasadena).

Pastel and drained oil on board: 60 x 79.5 cm.

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Odilon Redon. Etruscan Vase with Flowers, ca. 1910 (Metropolitan Museum of Art, New York).

Tempera on canvas: 81.3 x 59.1 cm.

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Anders Zorn. Portrait of Martha Dana, 1899 (Museum of Fine Arts, Boston).

Oil on canvas: 68.6 x 50.8 cm. Martha Isabella Dana (1872-1960) of Boston, here in her late twenties. She had this portrait commissioned while Zorn stayed in the USA. Within a couple of years after this portrait she married William Robert Mercer (1862-1939). They were both part of the wealthy upper class, and they both inherited considerable sums. Having no kids, they seem to have doted on their pets. Their private pet cemetery is still at Aldie Mansion, Doylestown/ PA (they even buried several horses). Dana would later become a prominent benefactor to local arts institutions. In 1928 she donated this portrait to the Museum of Fine Arts in Boston.

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Lisa Brice. Gertrude smoking, 2017 (artist’s portfolio).

Oil on paper: 42 x 29.7 cm.

Visit > Lisa Brice at: Stephen Friedman Gallery, Salon 94.
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Kerry James Marshall. Souvenir I, 1997 (Museum of Contemporary Art, Chicago).

Acrylic on canvas banner: 274.3 x 398.8 cm(!).

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Raphaelle Peale. Still Life with Cake, 1818 (Metropolitan Museum of Art, New York).

Oil on wood: 27.3 x 38.7 cm.

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Michaël Borremans. The Devil's Dress, 2011 (Dallas Museum of Art).

Oil on canvas: 200 x 300 cm(!).

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Visit > Michaël Borremans at: Zeno X Gallery, David Zwirner.
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Agnes Martin. Harbour Number 1, 1957 (Museum of Modern Art, New York).

Oil on canvas: 126.3 x 101.6 cm.

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Kerry James Marshall. Untitled ('Studio'), 2014 (Metropolitan Museum of Art, New York).

Acrylic on PVC: 211.6 x 302.9 cm(!).

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Alfred Thompson Bricher. A quiet Day near Manchester, 1873 (National Gallery of Art, Washington).

Oil on canvas: 50.8 x 97.2 cm.

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Egon Schiele. Seated Woman - back View, 1917 (Metropolitan Museum of Art, New York).

Watercolour, gouache and graphite on paper: 46.4 x 29.8 cm.

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Gely Korzhev (Гелий Михайлович Коржев-Чувелёв). Before a long Journey, ca. 1976 (Museum of Russian Art, Minneapolis).

Oil on canvas: ca. 88.9 x 119.4 cm. Reimagining Moscow 1941 (model is artist’s daughter).

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Graham Sutherland. Thorn Head, 1945 (Museum of Modern Art, New York).

Gouache, chalk, and ink on paper on board: 55.4 x 53 cm.

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Laurie Lee Brom. Summertime Blues, 2021 (artist’s portfolio).

Oil on linen: 91.4 × 61 cm. Model, actor, artist Olive Glass.

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Visit > Laurie Lee Brom at: Roq la Rue Gallery, Arcadia Contemporary.

Jean-François Millet. Nymphs resting in the Forest ('Nymphes au fond du bois'), 1846 (Phoenix Art Museum).

Oil on mahogany: ca. 30 x 25 cm(!).

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Teodora Axente. Becoming III, 2012 (Taylor Art Collection, Denver).

Oil on canvas: 50 x 33 cm. Teodora Axente (2021): “In order to define these two sides of the human being, the material and the spiritual, I chose to wrap my characters in cheap but shiny materials such as foil or cellophane ornaments that evoke the individual's dependence on the consumer society but also highlights superficiality. For example, the Becoming series evokes precisely that self-denial of the human being. Self-denial is effectuated in a ritual in which my characters are either on their knees or levitating above a chair from which only the legs remain, indicating the self-struggle”.

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Visit > Teodora Axente at: Galleria Doris Ghetta, Rosenfeld Porcini.