
The Girls of Avignon
Five nude women stare out with their faces turned into masks, and Picasso kept the canvas rolled up in his studio for years.

Five nude women stare out with their faces turned into masks, and Picasso kept the canvas rolled up in his studio for years.

Manet took the pose from Titian's Venus of Urbino and gave it to a prostitute who looks straight back. The 1865 Salon was scandalized.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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