The rituals of contemporary courtship, with its nude-selfie exchanges, meet the sexual politics of nineteenth-century French painting in the impressive portraits of this young Philadelphia-based artist. For the nine sumptuously detailed canvases (and three small papier-mâché sculptures) here, McAndrew photographed herself in poses borrowed from works by Manet, Ingres, and Delacroix, among others. Then she e-mailed the images to female friends, asking them to stage their own versions and send them to her. Thrice removed from their art-historical sources and depicting a diverse selection of bodies (many of them tattooed) in intimate surroundings, McAndrew’s compositions transform the female muse from a hidebound cliché into a vibrant figure of autonomy. In “Cheyenne,” McAndrew’s gifted fellow-painter Cheyenne Julien is seen sitting at the edge of a pink bathtub against a background of teal tile—it’s a detail lifted and reinterpreted from a scene by Jean-Léon Gérome, a graceful riposte to his Orientalist “harem” tableaux.