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But then, seemingly out of nowhere, came the Nanas, those girls as heart-stoppingly different from de Saint Phalle’s previous work as Cézanne’s “The Eternal Feminine” is from any of his still lifes or Mondrian’s grids are from his early writhing trees. These Nanas ― rotund, ebullient, hungry girls dressed in bold primary colors ― twirl on tippy toes and look like they’re having a grand old time. They glance back at French art history to Matisse’s jubilant dancers and the sturdy females of Gaston Lachaise and Aristide Maillol, and even, surprisingly, to Rodin. (Eunice Lipton Hyperallergic)
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