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The Apocalypse and the Shape of Things to Come, British Museum, London, 1999, p.

A striking young woman—with loose, untied hair and sleeves and a richly jeweled but informal gown—returns the viewer’s gaze. In her time, a viewer would have seen her as being in a state of semiundress.
Milan, 1969: 124. 1972 Fredericksen, Burton B., and Federico Zeri.

The basic fascination with capturing and studying images of ourselves and of others—for what they say about us, as individuals and as a people—is what makes portraiture so compelling.
By 1802, she was married to a US representative from New York, John P.

Washington, D.C., 1992: 274-277, color repro. 275. 1998 Townsend, Richard P.,

1949 (reprinted 1953 and 1958): 34, repro., as by Jan Vermeer. 1950 Swillens, P.

Research Library, Getty Research Institute, Los Angeles: Commission book no. 4, p.

Born in Luxembourg, Steichen emigrated as a small child to the United States with his parents, eventually settling in Milwaukee, Wisconsin. At 15 he began a four-year apprenticeship at a lithography firm there and became interested in painting while studying at the newly established Milwaukee Art Students’ League.
P. Morgan.

1949 (reprinted 1953 and 1958): 93, repro., as by Jan Vermeer. 1950 Swillens, P.

Meyer P.

Ante-Bellum Plantation House, Vicksburg, Mississippi, 1936, gelatin silver print, Robert B.