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Harriet Whitney Frishmuth, (American, 1880–1980). The Vine, 1921; revised 1923; this cast, 1924. The Metropolitan Museum of Art, New York. Rogers Fund, 1927 (27.66) #dance | In the early twentieth century, sculptures of dancing women were produced in great numbers, inspired in part by the success of dancers Isadora Duncan, Loïe Fuller, and Anna Pavlova. Frishmuth often turned to dancers for her sculptural themes and employed them to pose for her with musical accompaniment.

Harriet Whitney Frishmuth, (American, 1880–1980). The Vine, 1921; revised 1923; this cast, 1924. The Metropolitan Museum of Art, New York. Rogers Fund, 1927 (27.66) #dance | In the early twentieth century, sculptures of dancing women were produced in great numbers, inspired in part by the success of dancers Isadora Duncan, Loïe Fuller, and Anna Pavlova. Frishmuth often turned to dancers for her sculptural themes and employed them to pose for her with musical accompaniment.

Madonna and Child  Workshop of Donatello  (Italian, Florence ca. 1386–1466 Florence)  Date: 15th century or later, after ca. 1450 model Culture: Italian (Florence) Medium: Terracotta, polychromed Dimensions: H. 29 in. (73.7 cm.); W. 20 1/2 in. (52.1 cm.) Classification: Sculpture

Madonna and Child Workshop of Donatello (Italian, Florence ca. 1386–1466 Florence) Date: 15th century or later, after ca. 1450 model Culture: Italian (Florence) Medium: Terracotta, polychromed Dimensions: H. 29 in. (73.7 cm.); W. 20 1/2 in. (52.1 cm.) Classification: Sculpture

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