Canadian photographer Dina Goldstein, known for her cult series Fallen Princesses, returns with MISTRESSPIECES — a sharp, cinematic dive into art history’s most iconic women.

In ten large-scale photographs, Goldstein pulls figures from the canon — the Madonnas, the muses, the myths — and drops them into today’s world of climate anxiety, AI mimicry, and quiet displacement. Each tableau feels like a scene from a darkly funny film that never existed: part Renaissance, part reality TV, entirely unsettling.

Goldstein has always used satire as a mirror, and here she turns it toward the history of the gaze itself. For centuries, male artists idealized the female form — Botticelli’s softness, Titian’s glow, Ingres’s precision — shaping beauty through desire. MISTRESSPIECES flips that script. These women are no longer passive subjects; they occupy the frame with full agency, confronting both the painter and the viewer.

What emerges is not just a retelling of art history, but a reclamation — a gallery of heroines reborn in a world they never asked to inherit.

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