Maillol - Head of a Young Girl William Adolphe Bouguereau - Dance
During the Nineteenth and Early Twentieth Centuries, we were flooded by artworks which tried to be in a Classicizing style. They ran the gamut from the insignificant to the mawkish to the obscene.
Most of Maillol's works are just as obviously derivative as the bad ones. But Maillol's works work. Why?
One reason is their lack of sentimentalism. In an age like ours, if you order the viewer to roll the sweetness around on his tongue, he will usually gag. If it's the thousandth time he has been so ordered, he will be bored while he is gagging.
Another reason is what is being copied. There are very few people who can copy the details of another's artwork without making their own look second-rate. Because they are themselves bored, though they may not know it.
Maillol doesn't copy culture-specific details. Maillol copies from Greek art aesthetic principles which he thinks will serve his modern purposes.
In the work above, Bouguereau copies many details which have historical precedents in Hellenistic and Roman art, but whose purpose in his own work is not obvious. The naive viewer could easily ask why the musician has such a big bottom, or why the draperies are arching so unnaturally above.
Maillol took the strict profile, the simplification, and the limited use of earth colors from pre-Classical art, but it would never occur to a viewer who didn't know this to ask why they're there. They're part and parcel of the new work.

Spaces, not commas, please!