
The Birth of Venus
Venus arrives on a scallop shell in a fall of roses, painted on canvas at a time when almost everyone still worked on panel.

Venus arrives on a scallop shell in a fall of roses, painted on canvas at a time when almost everyone still worked on panel.

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

Bernini was in his mid-twenties when he cut this, catching Daphne at the moment bark closes over her thigh and leaves push from her fingers.

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.

A naked woman picnics with two clothed men and looks calmly out at us. The Salon refused it, so it hung with the rejects.

Titian woke Giorgione's sleeping Venus, brought her indoors, and had her look straight at us, probably to mark a wedding in Urbino.

A farmer on Melos dug her up in 1820, already armless, and scholars still argue over whether she held an apple, a mirror, or her drapery.

Five figures wheel in a ring against blue and green, reduced to three colors and the strain of holding hands at speed.

Nudes lounge and pipe and dance in a ring in a glade of colors nothing in nature has, a Fauve idyll from 1906.

Cézanne worked on it for years and died before he finished, bending the trees inward so they rhyme with the bodies underneath.

Eleven centimeters of limestone from beside the Danube, once tinted red, with a woven cap covering the whole head and no face at all.

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

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

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 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.

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 black silhouette plays a flute and the snakes come out of the leaves toward the music, in moonlight Rousseau invented entirely.

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

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

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.

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.

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

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

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.

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.

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

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

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

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.

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

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

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.

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.

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

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.

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.

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.

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.

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.

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

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.

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

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

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

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