Shape of Things Gone Exhibit Focuses on History of Americans Painting Human Form by Heather Nalbone The fare skin and flowing anatomical forms in one of the first paintings visitors see at the Corcoran Gallery of Artís new "Figuratively Speaking" exhibit has all the feel of styles that dominated Renaissance art. But the painting did not come to Washingtonís oldest museum from Europe. It was created during the early 19th century by U.S.-born Benjamin West, whose passion for history and mythological scenes made him one of the first American painters to become internationally known. His "Cupid Stung by a Bee" is one of 85 pieces arranged by the Corcoran in a creative celebration of the human form in American painting. The display is fantastic for anyone who has eclectic taste in art. Arranged chronologically, the pieces chosen for the exhibit span multiple centuries and movements, with just one loose but significant element stringing them all together: All were painted or sculpted by Americans and all focus on the human figure. Among the compilationís more famous pieces are John Singer Sargentís "Mrs. Henry White," Marsden Hartleyís "Berlin Abstract ion" and Jean-Antoine Houdonís "Mask of George Washington," considered by historians to be the most accurate representation of Washingtonís face at age 53. Many of the paintings are less renowned but equally important in historical worth. The pieces are filled with both humor (the water-logged, horse-drawn carriage in Alvan Fisherís "Mishap at the Ford" is a good example) and the tragedy associated with issues such as poverty, immigration and slavery. The chronicling of both important events and everyday practices happens here in everything from early-American portraiture to cubist-inspired painting. One especially pleasing gallery embraces the dynamic plurality of social classes in the post-Civil War era. Here, Thomas Eakinís portrayal of Victorian Americaís elite is a sharp contrast to John George Brown and Charles Ulrichís depictions of the harsh labor conditions of the Gilded Age among immigrants and the working class. Still other striking pieces depict contrasting views of African American life during the same time period. The pieces become increasingly abstract as the display continues down its sequential line, leading to the work of artists such as Arthur B. Davies and Max Weber, whose inspirations came from the lessons of fauvism, cubism and other avant-garde European movements. "Tracing figurative paintings and sculpture through almost 200 years reveals a dynamic portrayal of the nation with all of the evolving values and mores of its populace," said curator Sarah Cash. Her display is based on the theory that figurative art encompasses everything from portraiture to historical scenes, imaginary images and subjects from everyday life. The theory works beautifully, making for a captivating display that is guided by themes ranging from "early American genre painting" to "the Gilded Age women" to "urban realism." "Figuratively Speaking: The Human Form in American Art, 1770-1950" runs through May 23 at the Corcoran Gallery of Art, 500 17th St., NW. For more information, please call (202) 639-1700 or visit www.corcoran.org. Heather Nalbone is a contributing writer for The Washington Diplomat.