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“... During​ the First World War, the French artist Marie Laurencin cut off her long plaited hair and posted it to her former lover, Guillaume Apollinaire, who was serving at the front. It was an artistic as well as a personal sacrifice: interlacing serpentine lines are a recurring motif in Laurencin’s work, and femininity its primary theme. In Woman with a Fan (1912), a probable self-portrait, she rhymes the twisted coil of her braid with the unfolding pleats of a fan and the sloping curves of shoulder, neck and breast ...”

“... In​ 1897 or 1898, Edouard Vuillard gave Félix Vallotton one of his most important paintings. Vuillard’s Large Interior with Six Figures appears in two of Vallotton’s paintings, hanging on the wall and reflected in a mirror. It is quintessential early Vuillard: an intimate world ruled by women, jigsawed into place by wallpaper, curtains and rugs, any anxiety or conflict muffled by patterns and layers of plush ...”

“... Suzanne Valadon​ appears in several paintings by Henri de Toulouse-Lautrec. In The Hangover (1887-89) and Young Woman at a Table (1887), she is shown wearing a crinkled blouse and slumped over a small table, her mouth curled down in weariness or disdain. She was 21 or 22, and trying to make the leap from broke model to respectable artist. Born Marie-Clémentine Valadon in 1865, in a village near Limoges, she was raised in poverty by her mother ...”

“... In Martin Scorsese​ ’s film adaptation of The Age of Innocence, facsimiles of James Tissot’s paintings hang on the walls of the Beauforts’ Gilded Age mansion, the setting for the annual Opera Ball, where New York plutocrats dance with women in Tissot-inspired dresses. An oversized replica of Too Early (1873) shows the sniggering that meets a group of early arrivals at a ball ...”

“... women were allowed to work directly from nude male models, a controversial practice at the time. Alsdorf GalleryStettheimer was present for some of the formative events in modern art. She saw Cubist paintings at the 1912 Salon d’Automne before her American peers were introduced to them at the Armory Show in New York. She saw Nijinsky perform ...”

“... while the eye skates from nonentity to notable in a Fantin at the Musée d’Orsay. So Bridget Alsdorf’s first achievement in Fellow Men is a simple but serious one: she has turned Fantin’s paintings back into paintings – into works which begin with an idea and a hope, and proceed through drawings and stubbornly wrong ideas to possible ...”