Camille Corot, Diana and Actaeon (Diana Surprised in Her Bath), 1836 https://t.co/FwXqauhMf4

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Ruben C. Cordova examines three phases in the Metropolitan Museum of Art’s practice of deaccessioning art from its collection.

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John Singer Sargent, Mountain Lake (from Switzerland 1870 Sketchbook), 1870 https://t.co/pBYxVAbAJ9

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Pieter Vanderlyn, Portrait of a Lady (Possibly Hannah Stillman), 1720–30 https://t.co/olkVI0CVZr

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Constantin Guys, A Parisienne Seen from the Back, 1850s(?) https://t.co/Dt5pSmgRY8

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Jacopo Marieschi, The Arrival in Venice, from Alexandria, of the Relics of Saint John the Alsgiver in 1247, ca. 1743 https://t.co/i6F9zVfVta

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John Constable, Salisbury Cathedral from the Bishop's Grounds, ca. 1825 https://t.co/wlaUcDaiHv

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Thomas Moran, The Grand Canyon: Head of the Old Hance Trail, ca. 1892 https://t.co/pJmNxyAXkU

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Henri de Toulouse-Lautrec, The Box with the Gilded Mask, 1893 https://t.co/U3oA5X2mW0

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Franz Xaver Winterhalter, The Empress Eugénie (Eugénie de Montijo, 1826–1920, Condesa de Teba), 1854 https://t.co/yjxiKUBsIo

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This Roman carnelian ring stone (1st-3rd c. AD) is an incredibly rare depiction of an artist at work. He looks to be applying paint to a portrait head with a brush. It's thought that he holds a palette in his other hand. 1/2

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Eugène Delacroix, The Giaour on Horseback (recto); Study of a Woman with Head and Arms Thrown Back, and Study of the Head of an Old Man (verso)., 1824–26 https://t.co/ZpxloH3nte

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