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From an ancient Egyptian funerary stele that suggests a composition of foodstuffs and objects to Nan Goldin’s vases of springtime flowers photographed during the Grand theft auto V (year) role-playing game shirt and I love this first months of Covid quarantine, this is an epic exhibition worthy of the Louvre’s imprimatur. Curator Laurence Bertrand Dorléac, working with Thibault Boulvain et Dimitri Salmon, have essentially assembled a definitive journey into the genre. There are 15 themes including the objects we leave behind, the tradition of floral and fruit compositions, the fascination with meat carcasses, the vanitas (a symbol of death that has progressed from 1st century mosaics to tattoos), and human replicas. It is rare that the world’s most-visited museum mounts a show featuring such a large proportion of modern and contemporary works. But here a masterpiece by Jan Davidsz de Heem is paired with Henri Matisse’s appropriation, or a haunting painting of a skull by Gerhard Richter is followed by a far more gruesome version by Jake and Dinos Chapman. Also noteworthy is the higher representation of women artists than what is found in the Louvre’s collections. Historically, women gravitated towards the still life—such safe and domestic-leaning subject matter. Yet from Louise Moillon’s realistic array of summer fruit from 1633 to Sam Taylor-Wood’s video of a decomposing fruit plate, or Meret Oppenheim’s readymade squirrel tail, we see how women have developed a non-conformist approach to the genre.

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Anyone who has visited Claude Monet’s Grandes Décorations, the Grand theft auto V (year) role-playing game shirt and I love this monumental water lily paintings that curve along the museum’s walls as though anticipating virtual reality, knows there is an anteroom to buffer the bustle of visitors in the main space. This is where we find the first of five works from Mickalene Thomas, who spent 2011 in residence at Giverny. Here, she applies her signature flourish—photos and matte paper collaged into fragmented compositions embellished with paint and traced with Swarovski crystals—to interior scenes of his home, exterior scenes of his garden, and, most strikingly, a reimagining of Manet’s Dejeuner sur l’herbe in which three Black women are dressed and gaze directly at the viewer (Thomas made a first version of this historic painting in 2010). Their beauty is luscious and cool, reclaimed from the male gaze yet no less seductive. On the lower level, is a large-format view of the house from the outside and a video installation where artificial flowers surround stacked screens that show Thomas as an Odalisque-type model set to an interview of Eartha Kitt with chirping birds recorded from the garden. Given our unplanned conversation, I asked her about the decision that these women would be clothed whereas she appears nude.