Paul Klee Actor’s Mask, 1924 Oil on canvas mounted on boardO. Louis Guglielmi Wedding in South Street, 1937 Oil on canvasPavel Tchelitchew Leaf Children, 1940 Oil on canvasBernard Perlin The Lovers, 1946 Gouache and ink on paper-faced boardPavel Tchelitchew Head of Autumn (Study for Hide-and-Seek), 1941 Watercolour and pencil on paperEdward Hopper House by the Railroad, 1925 Oil on canvasBen Shahn Willis Avenue Bridge, 1940 Gouache on paper on boardIvan LeLorraine Albright Woman, 1928 Oil on canvasBernard Perlin The Lovers, 1946 (detail) Gouache and ink on paper-faced boardPavel Tchelitchew Hide-and-Seek, 1940-1942 Oil on canvasElie Nadelman Man in the Open Air, c. 1915 Bronze
Elie Nadelman (American, born Poland, 1882–1946) Woman at the Piano, c. 1917 (detail) Stained and painted woodJoseph Cornell Taglioni’s Jewel Casket, 1940Joseph Cornell Taglioni’s Jewel Casket, 1940Joseph Cornell Taglioni’s Jewel Casket, 1940Elie Nadelman (American, born Poland, 1882–1946) Woman at the Piano, c. 1917 (detail) Stained and painted wood
The first of dozens of works that Cornell made in honor of famous ballerinas, this box pays homage to Marie Taglioni, an acclaimed nineteenth-century dancer of Italian origin, who, according to the legend inscribed in the box’s lid, kept an imitation ice cube in her jewelry box to commemorate the time she danced in the snow at the behest of a Russian highwayman. The box is infused with erotic undertones—both in the tactile nature of the glass cubes, velvet, and rhinestone necklace (purchased at a Woolworth’s dime store in New York) and in the incident itself, in which Taglioni reportedly performed on an animal skin placed across a snowy road. Adding to the intimacy of this delicate construction, the glass cubes were designed to be removed, revealing a hidden recess below that contains two beaded necklaces and rhinestone chips placed on a mirrored surface and seen through blue-tinted glass. [source: MoMA]
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