The women in Susanne Kühn’s large-scale paintings are alone and isolated despite the crowdedness of their settings, which are frequently borrowed from the history of art. In Melanie–Melancholy, 2007, for example, a twenty-first-century woman sits in a courtyard on loan from Fra Filippo Lippi’s fifteenth-century Madonna and Child with Stories of the Life of St. Anne; but whereas Lippi’s Madonna occupies center stage and looks demurely at the viewer, Kühn’s subject turns to her right and gazes off into the distance. She is partly obscured by spindly, broken tree limbs and schematic tufts of