
The Rebuke of Adam and Eve
Adam points at Eve, Eve points at the serpent, and the first sin turns into an ordinary comedy of passing the blame.

Adam points at Eve, Eve points at the serpent, and the first sin turns into an ordinary comedy of passing the blame.

The swan nips her hand and Leda barely reacts. Cézanne cared about the planes of the body, not the story.

Serene, elegant nudes about to ruin everything. It faces Masaccio's Expulsion across the same chapel, calm before the Fall against anguish after.

Venus in a pearly sea with nymphs, tritons and putti all around, made entirely to delight and not at all to instruct.

Hercules, poisoned and raving, grabs the boy by the hair and one leg and throws him. Canova almost never carved anything this violent.

Two women asleep and entwined, painted on private commission and therefore out of reach of the Salon and its proprieties.

Neptune drives his trident down to still the waters. It was made for a fountain, so real water once finished the sculpture.

A sallow green face fills the front of the picture while behind him a woman in red picks fruit beside another man. He is imagining it.

Nothing in the picture touches anything else. Dalí built it on the physics of the atom, where matter is mostly empty space.

Paris turns up as a German knight in plate armor and the three goddesses wear nothing but jewels and improbable hats.

Courbet took the nude to the Salon with her hair loose, her body relaxed, and a parrot on her hand instead of a myth.

An enchantress sits in a wood ringed by deer, dogs, owls and a stork, which may be men she has transformed. Dossi leaves it unresolved.

Naked conscripts showering in a barracks under a mounted officer, painted after the army service that broke Kirchner down.

The story runs across the canvas in stages, arrival to departure. A later owner cut Leda's head out in disgust and it was repainted.

When Napoleon carried off the Apollo Belvedere, the Vatican put this on the empty pedestal, a modern work judged fit for the company.

The odalisque rebuilt in the machine age, all gleaming curves against deep red, sensual and cold at exactly the same time.

The dark chair throws the body forward, all lilac and rose curves, a plant arching over the sleeper from behind.

A single thread of gauze links the baby, the beauty, the crone and Death holding an hourglass. Baldung was Dürer's pupil, with darker interests.

Louise O'Murphy was a teenage favorite of Louis XV, and Boucher painted her face-down across the cushions for private consumption.

Spartan girls taunt the boys into wrestling, and Degas made the bodies awkward rather than ideal, which is not how history painting was done.

The Muses dance to Apollo's lyre while Venus's cuckolded husband fumes at his forge off to the left. Painted for Isabella d'Este's study.

A murdered woman on a divan, a calm man listening to a gramophone, and two men with a club and a net waiting outside the door.

Zeus arrives as a stream of gold coins and ornament between her thighs, and Klimt makes no attempt to be subtle about it.

African masks, Cycladic figures and Renaissance Venuses, folded into one long golden diagonal. Among the most expensive paintings ever sold.

Moses wades into a heap of falling nudes to drive off the shepherds, the limbs knotted almost into abstraction under a harsh light.

The serpent stands upright against the tree with a near-human face, and every leaf in the garden is catalogued one by one.

Oedipus leans in close to answer the riddle, and a previous contestant's foot is lying at the bottom edge as a warning.

Cupid pulls back the sheet while two putti sharpen their arrows on a whetstone at the foot of the bed. Painted for the Duke of Mantua.

An armful of calla lilies is nearly bigger than the woman kneeling behind it. Rivera came back to the flower and its sellers constantly.

You see a sleeping woman until you walk around to the other side. Bernini added the mattress, folds and all, in 1620.

She had been dead for years when this was painted, and the asp at her throat turns her into Cleopatra.

A satyr kneels and touches the dead woman with extraordinary gentleness while her dog keeps watch and wading birds stand along the shore.

A single unbroken avalanche of bodies falls from a bright heaven at the top into the dark, with demons pulling them down.

The Rose Period cooling off into something graver and more archaic, the boy and horse built like figures off a Greek relief.

A bee circles a pomegranate, and in the second before waking it has become two tigers and a bayonet coming at Gala's arm.

Ugolino bites his own knuckles while his sons starve against his legs, from the passage in Dante where he is tempted to eat them.

Seurat painted this to prove the dots could handle a nude, and hung his own Grande Jatte on the studio wall behind them.

Delacroix's debut, and the damned are biting the hull. Romanticism announced itself with churning water and bodies learned from Rubens.

Cat, mouse, rabbit, ox and elk stand for the temperaments held in balance, and the cat is about to pounce.

Jupiter has turned himself into a grey cloud, and a dim face and hand come out of the mist to hold her.

The police shut down Modigliani's only solo show for indecency, and this was among the nudes that did it.

Zeus arrives as a shower of gold and the old nurse scrambles to catch the coins in her apron while Danae simply reclines.

Marie-Thérèse asleep beside a sculpture of her own head and a philodendron, from the year Picasso could seemingly do nothing wrong.

Too explicit to exhibit for over a century, it stayed in private hands behind curtains and screens. No myth, no excuse, just the body.

Venus twists round to hold him back and he pulls away toward the hunt that will kill him. Cupid sleeps in the shade, useless.

A girl lies face down and frightened while a hooded figure sits behind her. Gauguin said his Tahitian companion was afraid of the dark.

The title comes from Baudelaire and the technique from Seurat, but the color is already heading somewhere neither of them went.

Matisse was too ill to stand at an easel, so he cut the figure out of painted paper and called it drawing with scissors.

Asked where he found so beautiful a model, Raphael said he worked instead from a certain idea of beauty he carried in his head.

A bare back seen from behind under even light, with a striped turban wound round the head. Ingres returned to this view all his life.

Freud sits on a wooden chair in three panels, wrenched out of shape and still unmistakably himself. Bacon painted his friend and rival.

Two horsemen haul two women up onto rearing horses, and the whole canvas spins into one great X of limbs and hooves.

Two women sit at either end of a sarcophagus full of water, and it is the naked one who stands for sacred love.

Myron's bronze is lost and this is a Roman marble copy, which is why a strut props the leg the original held up unaided.

Not a goddess but a real woman looking straight back, which is why the Inquisition took an interest. Goya painted a clothed version too.

A girl with a reptile's body offers a honeycomb and Time pulls back a curtain. The cold puzzle was probably a gift for the French king.

Two moments in one field: Adam and Eve reaching for the fruit, then driven out, suddenly old. The serpent has a woman's torso.

The king watches from his red bed while everything he owns is killed in front of him, on his own orders, before the pyre.

A critic at the 1913 Armory Show called it an explosion in a shingle factory, and the insult followed the painting around America.

Ingres stretched her spine past anything anatomy allows, and critics joked she had three vertebrae too many. He was chasing line, not truth.