^
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trice
Wertheim
Collecti.
John O'Bn; Preface b\ Barbara Wertheim Tuehiiian and
Fofffi'
Art
Mm
Anne
YNertl
/ *.#.
painting,
he had
r.
collection of
•
entury s
art.
a
ten iii«
-is
— and
—
he
pursue Indeed, he was larkable col-
bequeathed w perina-
um.
this
It is
lere for the
;
real interest
lis
1870,
il
tings
some
-
when
were of
t
lieing lie
movement. He
also
the heritage of
1
expressive forms i'il
•
Gauguin, and
Aeriheim's interest ive
1
lenri
work
among
1.
of the
others.
Rousseau, Pierre
Maillol.
John O'Brian
inquiring,
is
tells tin
in his intro!
individual commentaries to
hronology detailing on, a
is
O
of
d a bibliography. A
joj
Mr.
list
1' .
0,
also included.
and and educated
at
the
York University, and Harvard the University d
he
the
is
lected Essays arte
Barbara Werfheim Turhman and Anne
Wertheim Werner, Maurice Wertheim's
daughters.
recall
ilendid collection. Mrs. n
una.
1
Mrs Werner has written
and
Tuchman
tlw
American
and The March oj several books
ie
and
of
Distant Mirror. The
nth Century, ly.
life
icclaimed hooks
and the authoi Stdluell
Exp
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on envi-
Anne Simon),
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10 ] illustrations, including 4$ plate- in full color
<y
BOSTON PUBLIC LIBRARY
fine
/
Degas
to Matisse
The Maurice Wertheim
Collection
Degas to Matisse The Maurice Wertheim
Collection
John O'Brian
Preface
by Barbara Wertheim Tuchman
and Anne Wertheim Werner
Harry N. Abrams,
Inc., Publishers,
New York
and the Fogg Art Museum, Harvard University Art Museums
Project Director: Margaret L. Kaplan Editor: .Mark
D. Greenberg
Designer: Katy
Humans
Library of Congress Cataloging-in-Publication Data O'Brian, John.
Degas
to Matisse
the Maurice
:
Wertheim
Collection
/
John O'Brian.
cm.
p.
Bibliography:
160
p.
[includes index.
ISBN 0-916724-65-4
ISBN 0-8109-1138-8. 1
.
Art,
French
—
Catalogs. 5. Art. 4.
Museum
—
Museum
:pbk.)
Modern — 19th century—France — 20th century—France— Catalogs. 1886—Art — Catalogs. Fogg
Catalogs. 2. Art,
Modern
Wertheim, Maurice,
Art
(Fogg Art
Catalogs.
collections
I.
Fogg Art Museum.
5.
II. Title.
N6847.05 1988 759.4'o 7 4'oi444— dcig
87-21933
CIP Picture reproduction rights for Henri Matisse, Four Self-Portrait Drawings (cat.
30-35,
fig. 1)
©
1988 S.P.A.D.E.M., Paris/VAGA,
New
Published with the support of funds provided by the National for the Arts, a Federal
Copyright
©
Endowment
agency
1988 by the President and Fellows of Harvard College
Published in 1988 by Harry N. Abrams, Incorporated, cooperation with the Harvard University Art
No
York
part of the contents of this book
may
New
Museums.
York, in
All rights reserved.
be reproduced without the
written permission of the publisher.
A Times
Mirror Company
Typeset in Monotype
Walbaum by Michael and Winifred
Printed and bound by Amilcare Pizzi S.p.A., Milan
Bixler
Foreword by Edgar Peters Bowron
7
Preface by
Barbara Wertheim
Tuchman and Anne Wertheim Werner
Acknowledgments
9
15
Contents Introduction to the Maurice
Note
to the
Catalogue
Appendix
Collection
17
35
Paintings and Drawings
Sculpture
Wertheim
36
131
A
Chronology of Acquisitions by Maurice Wertheim
146
Appendix B Exhibitions of the
Maurice Wertheim
Collection, iy_i6-ipSj
Appendix C Technical Information on the Collection
Bibliography
1
60
Index of Artists and Works
174
1
49
148
Digitized by the Internet Archive in
2012
http://archive.org/details/degastomatissemaOOfogg
Maurice Wertheim, a graduate of Harvard College
(Class of 1906),
approached the collecting of art with disciplined enthusiasm.
Although he did not purchase a major painting until 1956, when he had already turned
made himself and
a half
Foreword
major contender in the
a
his
collections of
death in
tion to
Harvard
Since
974 the
1
within two or three years he had field.
In the next decade
he succeeded in assembling one of the most remarkable
and focused At
fifty,
for
1
modern European
950, Maurice
it
Wertheim bequeathed
his collec-
"the benefit and use of the Fogg Art Museum."
collection has
museum, where
art in this country.
been permanently
installed in the
has given pleasure and instruction to
many
students and scholars as well as to
visitors.
numerous
In recognition of the
importance of the extraordinary paintings and sculptures in the collection, the galleries
where they are
installed
were completely
redesigned in 1986 to provide a more spacious and congenial setting in
which
to be seen.
That
this catalogue should
reinstallation,
timely.
is
The
be published now, not long after the
catalogue
is
the culmination of a long,
concerted effort to produce a carefully researched and readable account of the
Wertheim
Collection. In this respect, the catalogue follows the
example of other publications prepared by the Harvard University Art
Museums on
its
collections in recent years. Notable
volume on the Charles A. Loeser Bequest volumes on the museums'
collections of
among
these
is
of old master drawings
the
and
Arab and Persian paintings,
works by Jean- Auguste- Dominique Ingres, sculpture by AntoineLouis Barye, and the Straus collection of prints by Edvard Munch.
We
are deeply indebted to John O'Brian,
who
of British Columbia,
dent days
at
Harvard
of the collection
Wertheim put
it
devoted a great
many
of the University
of his graduate stu-
and thoroughly documented account
to his lively
and of the circumstances under which Maurice together.
We
also
wish to acknowledge with thanks
the generous support of the National
Endowment
enthusiastic help of Margaret Kaplan of
which published
now
his
work
in this
for the Arts
Harry N. Abrams,
handsome volume.
Edgar Peters Bowron Elizabeth and John Moors Cabot Director
Harvard University Art Museums
and the
Inc.,
Father assembled his superlative collection of Impressionist paintings
and sculpture in the same
style as
he did most of
his various activities
— with vigorous enthusiasm and determination to achieve the best. From
his mid-forties until his death at sixty-four, the collection
central source of pleasure
The engine
that drove
in a variety of endeavors
sporting
MW,
him.
satisfaction to
him was the
a
desire to play an active role
— cultural and intellectual, philanthropic and
— aside from the business of finance that was the substance
of his career.
Preface
and enormous
was
The
as friends
distinctive quality of his bent
was
diversity, but
its
and family called him, almost always wanted
a position to give the activity
form and
direction, to innovate
to
be in
and
He was not by nature a subordinate, nor content with the second-rate. He searched for excellence and for undertakings that create.
were
first class
of their kind.
Impressionism, in fact art in general, was not a youthful interest.
MW began finding his own way early, leaving his father's business to join the
investment banking firm of Hallgarten
&
Company. He
was made a partner before he was thirty and within seven years took the risky step of leaving Hallgarten, to the concern of family and friends, to
headed
found his own firm of Wertheim
& Company,
which he
for the rest of his life.
Father was a passionate fisherman, so
much
so that
when
his
grandchild was born, he announced that he had been awake
first
night figuring out
how
sport.
would be when the baby boy could take
old he
his first salmon, in order that
Another passion was
all
he could teach him the
chess, a skill
much
fine points of the
practiced at the
Manhattan Chess Club, and with chess-by-correspondence, which required agonizing waits for the next did
more than simply
ized a chess to
Moscow,
team a
to
play;
move
to arrive
becoming president
compete with the
by postcard.
of the Club,
USSR team
and led
it
He
he organin person
daring and successful adventure.
Participating in Jewish affairs,
MW was a trustee of the preemi-
nent Mount Sinai Hospital and of the Federation of Jewish Philanthropies,
and
at a crucial
time
— 1941—1942 — president of the
American Jewish Committee, the body of entrenched conservatives
who
possessed considerable prestige and power. Against the antag-
onism of many old friends and of
its
associates,
He was
rigid hostility to Zionism.
support the
movement
probably the most
able to turn
for statehood that
difficult
and
MW prodded the AJC out it
around to
was an answer
historically the
to Hitler,
most important action
of his career.
He had As small
already undertaken two cultural exploits of some note.
girls,
we went with him
to
Broadway opening nights
of
productions presented by the Theatre Guild, of which he was a founder
and
director, along
with
peramental individuals.
9
five self-assured,
No one
strong-minded, and tem-
short of Julius Caesar could have
dominated these personalities
â&#x20AC;&#x201D; actress Helen Westley, director
Philip Moeller, stage designer Lee Simonson, father's fellow business-
man Lawrence Langner, and over direction of the Guild.
and
we
Teresa Helburn,
They met by turn
who
eventually took
in each other's homes,
can well remember the raised voices from the dining room
u hen they came
to
our house, the shrieks of argument and laughter,
and the often stormy departures for the
new
violent
brouhaha
as
the choice of plays and performers
season was being decided. Out of
â&#x20AC;&#x201D; as
seemed
it
to us
all
that discord and
eavesdropping children, for there
was something quite exciting about adults in such unbuttoned behavior
â&#x20AC;&#x201D; they produced an outstanding record of the best theatre with
the best plays and performances in the land. here was excitement of a different sort about
I
of
The Nation magazine. Through
Mother's friend and Nation
MW's
purchase
association with Freda Kirchwey,
Father became concerned
editor,
at
the
magazine's drooping fortune during the Depression, and he bought to enable
it
and
it
him unfamiliar
to
activity
reliable advice and,
with an
ability,
what
is
more, to accept
person was Alvin Johnson, president of the a
kind of universal teacher,
of his guidance
took on this
unusual for
a
new
man
someone who could give him sound and
type, to seek out
of his
He
with Freda in charge.
to continue
it.
In this instance the
New
School, for
whom,
as
MW had great respect, and he was glad
through the thorny business of publishing a journal
of opinion. In his accustomed active fashion,
MW relished our Connecticut
home, where we spent summers and winter weekends. He
fished in
the lake, supervised the farming, set up a model dairy and a chicken
and one year he imported several flamingos and black swans,
coop,
having glimpsed their
like in a
European
castle pond.
He
rode horse-
back with his wife and three daughters, setting a breakneck pace.
When tions,
his pace
Father was advised to find a
He immersed With the same Alfred art.
was slowed by some fundamental personal disrup-
M.
new
interest.
And he
did.
himself in the art world, starting almost from zero.
instinct for finding the right advisor,
he sought out
Frankfurter, editor of Art News, an expert in the subject of
Frankfurter and others took the zealous student on a round of
galleries
ranged
and museums
to
home and
at
accommodate
tall,
heavy
abroad. Bookcases were rear-
art books, talk
was of auctions,
dealers, private showings.
Soon Father focused his enthusiasm on the
French Impressionists
and the collection was underway.
.
.
.
Huge, crated canvases arrived East 70th Street in
New
at
our terraced apartment on
York. There were intense conferences about
framing, hanging, lighting, and about next acquisitions. Friends were
impressed with each
new
purchase.
MW's
butler, Charles, a gentle-
man's gentleman right out of "Upstairs, Downstairs," speedily learned
10
Maurice Wertheim with Cecile, fishing in
his wife,
on the Gaspe Peninsula
Canada.
Maurice Wertheim taking
his Irish
hunter, Blarney, over the jumps at a horse show.
1
w -
!
|
i
n right
I,
<hh1 his
from
left to
\li
David
Mi
Budd
~
Pomerani Lynni
theim
:
standing
i
I
e
i
\\ itli
his
daughters
and Anne
sitting,
.it
granddaughters
i;r!it
I
â&#x20AC;˘
[u<
hman
Betsy
1
]
.angman
-
Henrj Steiner
Mrs
ingn
ir
enthaJ
In the
Maui
Wert
ice
I
<
Mrs
enter, kneeling,
ln-im'
1
.
w
.
and
I'liilip l.illi-
iff.
is
Ocile.
works
a store of anecdotes about the
through the
The Jo,
noticed eye,
whom
he showed
collection.
three of us failed to provide
who
the eldest,
married
to tell visitors
died
some years
much
ago,
in the
way
was engrossed
of applause. in starting
Barbara, already a journalist, was abroad and hardly
life;
MW's new
undertaking; Nan, with a teenager's untutored
was not impressed by breakfasting with Renoir's nude bather.
mighty
Later, Father and youngest daughter had a
when
battle
she
refused to get married under Picasso's Blue Period painting of a syphilitic
mother and
refused to take a diplomatic
Father's
and he
â&#x20AC;&#x201D; a smilax curtain draped over the painting
new enthusiasm lived.
absorbed most of his nonbusiness time
Most Saturdays he devoted
with his new wife, the former Cecile Seiberling,
able art enthusiast in her
large for the apartment,
doors
fireplace,
instantly after the ceremony.
and dictated the way he at art
which was hung over the
down. The family lawyer resolved the deadlock with
compromise
removed
to be
it
infant,
down the
street,
own
right.
When
MW bought
a
to looking
knowledge-
the collection grew too
a capacious
with high-ceilinged rooms
town house
a
few
to give the paintings
needed space. As his appreciation grew, Impressionists' finest works.
MW determined upon acquisition of the
With
his
own
decisive taste and Frank-
furter's guidance, the collection, always highly selective
succumbing
to the
and never
merely popular or well known, included original
and exciting examples of each painter's and
sculptor's art
â&#x20AC;&#x201D; van Gogh's
Three Pairs of Shoes, Lautrec's The Black Countess, Degas's Singer
12
Maurice Wertheim and
his wife, Cecile.
with a Glove
Wertheim
â&#x20AC;&#x201D; these and other works of equal quality give the
Collection
its
distinction.
MW had endless meetings and spent much thought on the mate one
disposition of his paintings
museum as a
it,
collection together, believing
to
as firmly
members
ignored
all
of his family
inheriting a favorite masterpiece.
he was gratified
An
ardent
to reach
hints, suggestions,
who
or
and
his
Harvard alma
the collection's ultimate home, and surely, were he alive to
do
he would have enthusiastically written
Barbara Wertheim Tuchman
Anne Wertheim Werner
5
of the
agreement with
as
l
it
so
cherished fantasies of
member
mater so,
He
had more
anv institution that would have separated
and just
outright pleas from
Class of 1906,
it
group of works that complemented each other, and
turned a deaf ear sold part of
and sculpture, bargaining hard with
or another for conditions that he thought appropriate.
was intent on keeping the
meaning
ulti-
this preface himself.
This catalogue has been I
can
The
while in the making.
proposed in
tell, first
was
tion
a
1
idea was, as best
974 when the Maurice Wertheim Collec-
permanently in the Fogg Art Museum, Harvard
installed
University, following the death of Mrs.
Wertheim. The strength and
focus of the collection argued for the publication of an up-to-date
well-documented catalogue of
its
contents.
The
and
only authoritative
source on the collection was an exhibition catalogue prepared in 1946
by Frederick
Acknowledgments
B. Deknatel,
Wight â&#x20AC;&#x201D; a
erick S.
Seymour
tion,
publication long out of print.
it
To remedy the
situa-
then Director of the Fogg Museum, organized a
Slive,
graduate seminar in
from which
Agnes Mongan, John Rewald, and Fred-
1
976 in the Department of Fine Arts
was hoped that
a catalogue
at
Harvard
might emerge. Although
the work of the seminar was never published, a great deal of valuable research by the students has found
To
way
into this volume.
Professor Slive and those students, therefore,
The members
debt.
its
of the seminar
w ere Suzanne r
I
owe my
first
Barakoff, Sheila
Bonde, Margaret Morgan Grasselli, Elizabeth ten Grotenhuis, Elenor I
light,
now
at
Steven Naifeh, and John Spike. Margaret Morgan Grasselli, the National Gallery of Art, Washington, D.C., deserves
particular
mention
for her continuing
commitment
to the proposed
catalogue after the seminar had ended.
My second I
debt
is
to the writers of the first
Wertheim
catalogue.
have relied on their scholarship and have taken the liberty of quoting
from their
when
I
have
ment. Miss
and
original entries (about half felt
that nothing
Mongan and
I
were the work of John Rewald)
could say would
solicitous interest in the present catalogue.
knowledge of Maurice Wertheim
for
any improve-
Rewald have both taken
Professor
correspondence, they have given
make
me the
a lively
In conversation and in
benefit of their firsthand
as a collector
and have passed along
information about particular objects in the collection and about
when
and under what circumstances they were acquired.
Members
Wertheim family demonstrated an
of the
early
enthusiasm for the project by providing information and offering suggestions. Maurice
Wertheim's daughters, Barbara W. Tuchman
and Anne Wertheim Werner, and
his sister, Viola
am
W.
Bernard, are
chief
among
ful to
two grandchildren: Betsy Schulberg and Pamela Steiner
provided
me
those
I
should like to thank.
I
also particularly grate-
with access to fascinating family papers and photographs
in their possession.
Among Maurice Wertheim's
business associates,
I
& Co., Inc., and William Riegelman at Fried, Frank, Harris, Shriver & Jacobson, New York. I am also indebted to Melissa Brown, M. Knoedler &
received help from Frederick A. Klingenstein at
Wertheim
I.
Co., Inc.; Pierre Matisse, Pierre Matisse Gallery Corp.;
Rosenberg, Paul Rosenberg
& Co.,
Inc., for
& Co.;
Alexandre
and Mary McKenna, Wildenstein
answering inquiries about Maurice Wertheim's trans-
actions with their galleries.
Librarians and archivists have responded patiently to repeated
*5
requests for information. In Cambridge, of the
I
have used the Baker Library
I
larvard Business School, the Harvard Fine Arts Library, the
Harvard Theatre Collection, the Harvard University Archives, the Manuscript Division of the Houghton Library, the Schlesinger
Widener Library, and the Fogg Art Museum Archives.
Library, the
winch contains extensive correspondence and informa-
At the latter,
tion relating to the
Wertheim
Collection,
I
benefited from the scru-
pulous ministrations of Phoebe Peebles and her assistant
Elsewhere,
have used the resources of the Archives of American Art,
I
Smithsonian Institution; the Cone Archives, Baltimore \rt;
Abby Smith.
and the Frick Art Reference Library,
New
Museum
York.
Friends and colleagues at the Harvard University Art
have been generous and forbearing.
and present, who have
Among
of
the
staff
Museums
members,
past
facilitated the production of the catalogue are
Louise T. Ambler, William C. Ameringer, James B. Cuno, Maureen
Donovan, Kate Eilertsen, Lisa Flannagan, Elizabeth Gombosi, Landon Hall, Caroline Jones,
Mary Rose Maybank, Jane Montgomery, Michael
Ned/.weski, Konrad Oberhuber, Eric Rosenberg, Rick Stafford,
Miriam Stewart, Diane Upright, Jeanne Wasserman, and Henri Zerner.
aging see
I
me
would
up the
to take
through
it
especially like to
acknowledge Peter Walsh
project in the
to completion.
Most of
first
all, I
place
for encour-
and then helping
wish to express
my
to
grati-
tude to Marjorie B. Cohn and members (again past and present) of the Conservation Department, particularly Arthur Beale, Craigen
Bowen, Pia de
Santis,
Hensick, Richard
With
a care
ined the
and
Sandy Easterbrook, Eugene
Newman, Kate
Olivier,
a deliberation that
medium and
Farrell, Teri
and Carolyn Tomkiewicz.
were exemplary, they reexam-
condition of every object in the collection and
condensed their findings in the admirable Technical Appendix.
Among I
the scholars and
museum
curators
should especially like to thank Iain Boal, the
Collective; Jean Sutherland Boggs, Ministry of
Ottawa; Janet M. Brooke, Montreal
Museum
who have assisted me, Pumping Station Communications,
of Fine Arts; Claude
Duthuit, Matisse Archives, Paris; Elisabeth Higonnet-Dugua,
Cambridge; Vojtech Jirat-Wasiutynski, Queen's University, Kingston, Ontario; Michael Leja, Harvard University; Gary Tinterow, Metropolitan
Museum
of Art,
New
York; Paul Tucker, University of
Massachusetts, Boston; and Alan Wilkinson, Art Gallery of Ontario,
Toronto. In addition, three formidable readers offered comments on the manuscript: T.
Theodore Reff Finally,
Art
I
at
J.
Clark at an early stage and
the end.
I
am
grateful to
all
Ann Blum and
of them.
should like to thank a string of Directors at the Fogg
Museum: John
Coolidge, Agnes
Mongan, Seymour
Slive,
John
Rosenfield, and Edgar Peters Bowron. All played a part in the preparation and production of this catalogue, and prise
by their help and enthusiasm.
John O'Brian
all
supported the enter-
Introduction to the
Maurice Wertheim Collection
.
.
.
/ would
thing,
say a special word for Who's Who. For one
like to
likely to be accurate because
it is
the subjects themselves.
For another,
it
its
by
entries are written
shows them as they wish
appear and thus often reveals character and something of the
H. H. Rogers, a Standard
iSyos, listed himself simply
obviously in his
would
and succinctly
own eyes a proud and
of a period
social history
and
Oil partner
is
business tycoon
as
to
times.
of the
"Capitalist,''''
The
desirable thing to be.
contained in that self-description.
Who
himself by that word today?
call
Introduction
Barbara W. Tuchman "History by the Ounce," 1965
When Maurice Wertheim
wrote his
first
entry for Who's
1928, he listed his occupation as "Banker." of a singularly successful
and bearing
his
in
the senior partner
Wall Street firm, founded by him in 1927
name. His
his daughter, historian
He was
Who
self-description was, in the later
Barbara
W. Tuchman,
words of
own
"obviously in his
eyes a proud and desirable thing to be."
However, Wertheim did not care used by H. H. Rogers in the quotation
to attach to himself the epithet at
the head of this page.
The
times in which he rose to prominence in America were not generally receptive to the swagger favored by the "capitalists" of the 1890s.
Wertheim and
his generation
made
their financial and cultural
during the decades between the two world wars, free enterprise
when
mark
notions about
had changed from the days when H. H. Rogers and
colleagues such as
Andrew Carnegie and
dominated the scene,
settled their
J.
his
Pierpont Morgan had
remarkable bequests upon the
nation, and passed on.
Wertheim's contributions
to
Who's
Who
are informative, but not
nearly as informative as the accounts he wrote of himself for his
graduating
class at
each Harvard for circulation
Harvard (1906).
class to
among
It
was, and
is still,
the practice of
publish at regular intervals a yearbook of record its
members. Wertheim was
a faithful contrib-
utor to these publications and took care with his submissions. There
every reason to suppose reports he
â&#x20AC;&#x201D; again following Mrs. Tuchman â&#x20AC;&#x201D; that in his
showed himself
as
he wished to appear. By the same token,
his self-description evokes the social history of the period.
Wertheim's
fullest report
about himself was written in 1931,
about five years before he began seriously to purchase art and about ten years before he began to formulate the idea of leaving an art collection, in
Figure
memoriam,
to his college. In that sense the report
1
Bachrach, photograph of Maurice
peripheral to the
main
interest of this introduction.
is
However,
Wertheim, 1929. Collection of Barbara
as a
statement about what Wertheim thought had counted in his
W. Tuchman.
life
up
l
9
to that time,
it
is
makes compelling reading; and
in a larger
2
sense, in
its
it is
the necessary prologue to what follows.
It is
reprinted here
original form:
Maurice Wertheim Born:
New
York,
— 1951
N.
Y.,
Feb. 16, 1886.
Parents: Jacob Wertheim,
Prepared
at:
Dr.
Report to the Harvard Class of 1906
Hannah Frank.
New
J. Sacli's School,
N.
York,
Y.
Years in College: 1902-06.
Degrees: A.B., 1906; A.M., 1906 (1907). Occupation : Banker.
New
Married: Alma Morgenthau,
York,
N.
1909 (divorced
Y.,
1929); Ruth White Warfield, 19)0.
Children: Josephine Alma, 1910; Barbara, 1 91
,•
Anne
Rebe,
1914.
Address: (home) ij6 East 75th
St.,
New
York,
N.
Y.,
St.,
New
York,
N.
Y.
and
Cos Cob, Conn.; (business)
During
57 William
the twenty-five
years since graduation,
my
work has been
— business, the theatre, and
directed chiefly along three lines certain public activities.
my hand at publishing,
After graduation I tried
my father's company, of which I was an into
Wall
the United
Cigar Manufacturers Company, years. Finally, in 191 j, / went
officer for seven
became a partner
Street, and, in 1919,
banking firm of Hallgarten
&
&
in the investment
Company. I remained a partner
until 1926, and, in the following
firm, known as Wertheim
then entered
my own investment of which I am still the
year, formed
Company,
senior partner.
My chief outside interest during these twenty-five years has been
t/ie
theatre.
From
the time
of graduation
until
1
91 9, I was
connected with various amateur theatre groups, whose activities
culminated in 191 9 in the
New
York Theatre Guild. Ever since
its
formation, I have been a member of the board of managers and active in
its
operations.
Up
to
date the organization lias produced
over seventy-five plays. I have enjoyed the work very much, since it
has more or
less
balanced the
activities
In 191 j J was appointed a Industrial Board,
the state. in
During
member of the New York
and served on
chiefV engaged with the
that
my associates in war I worked
Washington, and later went
of a busy business
to
drawing a new labor law for
with the
war
savings committee
Persia as finance
member of the
the leadership
of the
Dr. Harry Pratt Judson, then president of the University
of Chicago.
20
State
board for two or three years,
American Persian Relief Commission, under late
life.
/ in
have traveled much, particularly
in the
Near
and
East,
almost every European country, except Russia, which I
Ifeel
Iioping to visit very shortly, as
am
that no one should miss the
present opportunity of studying there one of the most interesting
experiments in the development of a new social order that has ever been attempted.
As
to recreation,
my chief one is fishing â&#x20AC;&#x201D; principally fresh
water fishing for trout and salmon. I can hardly remember any
month of May
that
I have not been on some trout stream or other,
and one of the favorite gibes of my friends is their reminder to me that I was admitted to partnership in Hallgarten dc Com-
pany on
May
I
ipip,
,
and
that on the 8th
of May I went on a
fishing vacation.
Sometimes, in a light moment, I say about myself that chief interests in
life
their importance to
my
are banking, the theatre and fishing, but that
me
of the order named (HUA,
the inverse
is in
1951 Class Report).
Apart from the closing sentences, with their obligatory good
humor and
self-effacement, there
Wertheim's
nothing "light" or modest about
and
recitation of his achievements
struck, or should be struck,
of his statements.
identity
is
and
interests.
We
are
by the straightforward matter-of-factness
Without doubt, here
his accomplishments.
is
There
an individual clear about his is
no attempt to disguise the
ambition and energy with which he has pursued his principal interests.
The
picture that
other evidence of his decision trilogy,
from the
Wertheim activities.
New
When Eugene
is
corroborated by
O'Neill needed a firm
York Theatre Guild on the production
Mourning Becomes
for help in resolving
presents of himself
Electra, he appealed
an impasse
by
letter to
of his
Wertheim
â&#x20AC;&#x201D; at the same time incorporating a
lengthy apologia of his dramatic intention in the plays (WFP, 15 June 1951). O'Neill clearly believed that
Wertheim could be counted on
to
provide the decisive action he needed. His appeal was not misdirected, for at the
time Wertheim was one-third owner of the Theatre Guild
and held himself responsible
for reading all scripts
submitted to
it
for consideration.
Professor George Pierce Baker of Harvard also believed that
Wertheim, who had once been Baker's student, could be counted on for decisive action in a
Baker put forward
matter involving American theatre. In 1924
a plan for
the foundation of a drama department at
Harvard and the construction of an adequate theatre pioneering productions. drive to see 1924).
Wertheim agreed
to organize a fund-raising
them launched (HTC, Wertheim
Along with Paul
J.
Associate Director of the
to stage his
to Baker, 10
January
Sachs, a childhood acquaintance and by then
Fogg Art Museum, Wertheim was
a
com-
mitted admirer of Baker's experimental work in American theatre.
21
However, President Abbott Lawrence Lowell rejected the proposals, brushing aside Baker's appeal and Wertheim's offer to help meet
As
Baker
a result,
d<
|
i.n
t
the following year for Yale (Kinne, 1954,
<m!
247). y\ ertheim and Sachs, however,
p.
be<
ame
tn
ollei
(
modern European
tion-
IMA.
major
fa<
tul
l.ir\
(
renewed
when, some years
signify an1 for both t
it.
art
a friendship that
Wertheim began
later,
and asked Sachs
on acquisi-
for advice
orrespondence, 1922-1949). Their relationship was a
tor in \\
ertheim's decision to leave his collection eventually
aid.
The
by Wertheim
desire expressed in 1931
to visit the Soviet
Union '"one of the most interesting experiments in the development of a I
In'
trij) \\
new
social
order that has ever been attempted") was
met
in 1954.
experiment and the country fascinated him. At the end of the he
vs
rote a long letter to his family. "It will
rote, "td net
having
Marx.
his
t
It
is
back
to a capitalistic
seem strange," he
country and bourgeois society after
Communist Manifesto
experience and reading the
certainly a shattering document! ...
I
came here
people could get along without the profit motive. ...
have the leisure of
much
thinking before
it
will
all
shall
I
of Karl
to see if
have
take shape"
(
to
WFP,
6 August 1954). I
ciallv
lis
subsequent thinking led him in 1935 to purchase the finan-
troubled Nation, the oldest liberal weekly in the United States.
He had
supported the Nation and
Villard. since the 1920s
its
publisher,
Oswald Garrison
(HL, Wertheim- Villard Correspondence,
1928-1938). Within two years, he had largely set the magazine back
on
its
feet
by arranging
for
independent funding.
He then
sold
it
to
who had helped arrange Wertheim's trip to the Union and who was pro-Soviet in her political convictions (SL,
Freda Kirchwey, Soviet
Wertheim-Kirchwey Correspondence). In the phrasing press release, she
was "one of the truest
{New York Times, 4 June
1937, p.
liberals in the
Wertheim's
country"
6).
Another consequence was a follow-up after the war. In
of
visit to
the Soviet Union
1946 Wertheim led the American chess team
as its
nonplaving captain (although not of championship caliber himself, he
was reputedly
a
good player) against the Soviet team in Moscow.
Wertheim conceived
of the
match
the Russians won. "I thought
it
as a
gesture of political goodwill;
was up
to
the private citizens of this
country," he reflected, "to do what they could to support the
efforts of
the State Department to encourage a relationship with Russia on a basis other
than business or war. I'm afraid
purpose in a long-range way, but Yorker, 14 August 1948, p. 20). in part
by the
two thousand
fact that the
spectators,
I
I
didn't accomplish
did a lot at the
The
moment" {New
short-run impact
matches were played in
my
a
may
huge
be gauged hall before
and that each move in the games was trans-
mitted by telegraph to chess halls throughout the rest of the country. In response to Wertheim's overtures of friendship in his opening
22
Figure
2.
Maurice Wertheim, captain of the
American chess team, addressing tators at the
spec-
opening of the U.S.—
Soviet matches, Moscow,
September
1946. Collection of Betsy Schulberg.
remarks on the
day
first
(fig. 2),
New
the
York Herald Tribune
reported that "the cheers and shouts shook the rafters until the
lid
would come
wonder Wertheim
off felt
the place" (28 September 1946,
p. 13).
he was accomplishing something,
seemed]
[it
Small
at least at
the time, for Soviet-American relations.
By
Wertheim's passion
contrast,
He
relative private.
Anne
Ste.
It is
to fly-fish for
clear
salmon
at his
in this activity,
from the appreciative
camp was one
received from visitors that his its
Canada
Monts River. Even
des
however, he was disciplined.
and ecpiipped of
in
derived particular pleasure from leading parties of
friends to the Gaspe Peninsula in
"camp" on the
was played out
for fishing
letters
he
of the best appointed
kind; and in case visitors misunderstood the seri-
ousness of Wertheim's attachment to the sport, they could read the short book,
with
Salmon on
illustrations
the
Dry
Fly,
which he wrote and published,
by Ogden M. Pleissner, in 1948.
In short, Wertheim was the disciplined enthusiast of half a dozen interests,
with the financial means and the capability to leave
on each of them. His commitment Although he did not purchase
a
to collecting art
his
mark
was no exception.
major painting until 1956
— just past
his fiftieth birthday
— he made himself a contender in the field within
two or three
By the time
years.
of his death fourteen years later,
he
had succeeded in assembling one of the most remarkable and focused private collections of late nineteenth- and early twentieth-century
European
art in the
United
States. It
paintings, drawings,
and sculptures
was
And
the
left to first
Harvard.
time in
Among
it is
is
this collection
— forty-three
— that, under the terms of his will,
this collection that
is
catalogued here for
full.
the works purchased by
Wertheim
are several that have
been more extensively written about than the others. They Rehearsal and Singer with a Glove, by Degas
(cats. 2
and
are:
The
5); Skating,
,
Installation
photograph
of
I
i
York
the exhibi-
V HI
,
Modei
ii
tit.
\i
t
.
Villi
New
Nov -Dec. 1929.
I>\
Manet
Monet
(cat. 11);
(cat. 5);
:
Seated Bather, by Renoir
mode, by Cezanne
by van Gogh
The Gare Saint-Lazare Arrival of a Train, by
(cat. 17)5
(cat. 19);
Self-Portrait Dedicated to
Poemes Barbares, by Gauguin
and Mother and Child, by Picasso fore, to find in
(cat. 8)5 Still
(cat. 24). It is
Life with
Com-
Paul Gauguin, (fig. 5, cat.
20);
not surprising, there-
the literature on Impressionism, Post-Impressionism,
and early Picasso that these paintings have become standard points of reference.
They
ments and
issues;
highlight and crystallize major aesthetic achieve-
and
for this reason several of
coverage in this catalogue, introduction.
The
them
receive extended
as well as consideration later in
the
â&#x20AC;&#x201D; by the artists men-
other works in the collection
tioned above, as well as by Seurat, Toulouse-Lautrec, Guys, Pissarro,
Rousseau, Matisse, Dufy, Bonnard, Despiau, and Maillol less
remarkable and have
The in 1953
house
at
real story of
also received close attention in this
Wertheim's
when he moved
â&#x20AC;&#x201D; are hardly
to a
activities as
new apartment
55 East 70th Street.
volume.
an art collector begins
in
New
The apartment spoke
York, the pent-
for the values of
"streamlined modernity" and contained "not a sliver or stitch of the
antique" (Frankfurter, 1946, of art.
M.
"When
I first
p. 30).
visited [the
Frankfurter, editor of Art
with reproductions
it
contain original works
apartment] in 1934," wrote Alfred
News and Wertheim's
and confidant on matters relating sively
Nor did
to art,
principal adviser
"the rooms were hung exclu-
â&#x20AC;&#x201D; large collotype facsimiles of the identical
French nineteenth-century masters who are now represented on the
same walls by not merely
originals but
monuments"
(ibid., p. 30).
Frankfurter's observation about the interior of the apartment coincides
with the memories of members of the Wertheim family. But the family recalls
more; namely (and Frankfurter
reproductions were not even selected by
24
left this out),
that the
Wertheim but by
his oldest
who was an accomplished painter. Presumably was reserved for her own paintings, and one must wonder
daughter, Josephine,
some space what
encouraging her father,
role she played in
begin collecting
a
few years
later, to
art.
AAe are told by Frankfurter that Wertheim was attracted above all
to the art of the Quattrocento
and then
to the paintings of Diirer,
Grunewald, and Cranach. He reportedly thought Masaccio's fresco cycle in the Brancacci Chapel, Sta.
greatest
work
of art ever executed;
del
Carmine, Florence, the
he even wanted
— at Cos Cob, Connecticut.
But he held no
for the hall
very well that
about being able to
illusions
major original Quattrocento paintings, even
He knew
commission, in
— also modern, like the interior of the apartment
of his country house
found.
to
The Expulsion from Paradise
fresco, a full-scale replica of
afford
Maria
as a result of
if
they were to be
the programs of accumu-
Morgan and other American
lation
mounted by
J.
Pierpont
before
World War
I,
the Quattrocento was not a
field in
collectors
which he
could hope to excel as a collector. At the same time, Frankfurter
informs
epoch"
us, "his business sense told
him
to concentrate
on
a single
(ibid., p. 51).
In deciding to collect French nineteenth- and earlv twentieth-
century
art,
American
Wertheim
collectors.
company
placed himself in a growing
of
Aline B. Saarinen, in her near-contemporary
account of art collecting in the United States, analvzed the shift of interest to
modern French
almost inevitable: prices
began
after the First
enough
to be trustworthy.
pp. 375-376). Saarinen
had
between the wars.
in
mind
a
.
long
."
as
list
Among them were
Maud and
Lewisohn, Duncan
plentiful,
of
American
Ralph Coe, Claribel
Edward G. Robinson,
known
to
Sam
A.
several Rockefellers,
John T. Spaulding, Carroll Tyson, and John Hay Whitnev. these collectors were well
collectors
Albert C. Barnes, Leigh
Chester Dale, Mrs. David Levy,
Phillips,
and
(Saarinen, 1958,
Block, Robert Sterling Clark, Stephen C. Clark,
and Etta Cone,
World War
"The old-master market was dwindling. Their
were high. The French 'modern' paintings were
just expensive
active
art that
Wertheim. Also
Many
of
contributino- to
the shift in buying tastes toward modern French art was what Saari-
nen termed, one presumes with
irony, a
change in the nature of
"dwelling units of the Collector Class." "The exodus from mansions," she continued, "to townhouses and to apartments meant smaller rooms
and lower
ceilings, a shift
from ponderous English furniture
French furniture, from Persian rugs
from dark, wood-paneled walls
to
to lighter
gray wall-to-wall carpeting,
to pale, painted ones. In these
new
living quarters, English eighteenth-century portraits, such as those
with which Huntington tapestries ridiculous;
filled his
California palace,
were too
large;
and most old masters too dark. The French
— right in scale, light in hue and charming in Louis XV gold frames — seemed appropriate" (ibid., p. 376). Saarinen might paintings
25
'
P
'-*
u
4-
raph of the living room of
a
Maurice Wertheim's tow nhouse,
New York.
have been describing; Wertheim's apartment
moved
the townhouse that he 1
947(% It
at
35 East 70th Street or
down the
into at No. 45 just
street in
4)-
bears pointing out, however, that the
work
of Picasso's Blue
Period (considered French by dealers and collectors because School of Paris)
is
hue" and may not look "charming" in what-
rarely "light in
ever kind of frame chose to collect
placed.
it is
when he
But
this
is
Wertheim
the work that
two years he pur-
started out. In less than
chased five works executed by Picasso in the period between 1901 and
1906 (see Appendix A). His
Man
acquisition
first
was
The Blind
Picasso's
(1903, cat. 25), a stark representation of poverty, the figure
characterized by the elongated limbs and the pathos found in the artist's
large
work
at
the time. Within a year,
Mother and Child (1901,
and destitution. There acquisitions. Just
how
Wertheim had bought the
cat. 24), also
no doubt that he
is
strongly
is
an image of wretchedness
felt
strongly about these
related in the preface by his youngest
daughter, Anne, in connection with preparations for her reception in early 1937.
Mother and
irony of the compromise reached about
Child, so Baudelairean in
on the guests for
Two
The
whom
years later
stirred controversy.
own wedding
its
twists,
the painting was both
cannot have been
hung and hidden.
Wertheim purchased another painting
The
lost
that
painting in question was van Gogh's
Paul Gauguin
Self-Portrait Dedicated to
been denounced by the Nazis other examples of modern
as
art),
(cat. 19).
The work had
"degenerate" (along with
and in June 1939
it
was
many
sold at
auction by the Nazis through the Fischer Gallery in Switzerland.
Some American
collectors
â&#x20AC;&#x201D; Etta Cone,
for
example
participate in the auction on the grounds that
26
â&#x20AC;&#x201D; chose not to
any transaction involv-
ing the Nazis could be construed
support for the regime. Because of
as
Etta Cone's interest in Matisse, the European dealer Siegfried Rosen-
two paintings by Matisse
gart wrote to her with the information that
had been
in the sale
sold to
He
(CA, 26 July 1959).
News bought
American
also
collectors at very
wrote that "Dr. Frankfurter of the Art
for a private collector" the
van Gogh Self-Portrait. He
did not approve of these transactions. But
Wertheim held
to a
view
what the Nazis thought reprehensible was hardly
that support for
reprehensible in
He must have
itself.
November 1941 he
unclear), for in
whatever
successfully parried
from the American Jewish community
criticism he received is
low prices
stood as a candidate for the
presidency of the American Jewish Committee and was elected
York Times, 19 November 1941,
The
remarkable
elicited a
tant committee
member (WFP,
{New
p. 15).
significance of his position as head of the
Committee
extent
(its
letter
American Jewish
from Joseph Willen, an impor-
29 January 1942). In his
letter,
Willen urged Wertheim to shed his persona of "banker" and, pro bono publico, emphasize the side of his personality that exhibited the
perament of an wrote
/
tem-
About Wertheim the "banker," Willen
"artist."
as follows:
trust that
our friendship gives
me tlie
right to speak plainly.
For
thirty years you have been a banker â&#x20AC;&#x201D; or so you like to describe
yourself.
American
the art.
a banker who has played an impressive role in
Of course,
But always you
unduly with
this,
my own
having
that
and understanding them, William James used
so characterize
you and
in the
it),
healthy respect for what
that
several other successful bankers of
concept of "banker.'''' The sober fact
like
astic
is,
Wertheim
it
the
or not, you, more
of a great
section
of
capacity of the artist," Willen recalled Wertheim's enthusi-
course this
is
to
Paul Gauguin. "Of
true [that you possess the temperament of the artist],"
Willen wrote, "as anyone knows
who
has heard you
the subject of van Gogh's Self-Portrait
your words, suffered
so
much, was
let
convince
yourself go on
â&#x20AC;&#x201D; that picture of a man who, in
disillusioned
by
so
much, and yet
looked upon the world without hatred or judgement."
27
you for a
that he had, in fact, "the tempera-
response to the Self- Portrait Dedicated
case, to
my
synonymous with
not
the spiritual leader
that
(ibid., p. 5).
In order to convince
ment and
seeing
acumen and sober judgment
is
American Jewry
indi-
that toug/i-mindedness (in the sense
kind of Iiuman expression that perhaps
now
is
know your great capacity for
acquaintance. I believe that [the presidency] calls upon
than any rabbi, are
world of
upon the term "banker." I won't quarrel
insist
cated by the term "banker." I
facts
and
theatre, in liberal journalism,
To make
his
W ertheim that he had a personality that might be T
termed
artistic, it
was almost
Wertheim's admiration
There
is
Willen was prepared to equate
as if
with an actual production of
for art
art.
nothing to suggest that Wertheim accepted the dubious
argument.
logic of "W'illen's
—tough-minded and with
He was
much
the "banker," of course
a "great capacity for seeing facts," as
Willen himself observed. But
and capacity of the
too
Wertheim
if
lacked "the
he was cool toward
artist," this is not to say that
many
he strongly identified with
his purchases. Indeed,
represented in the paintings
temperament
— a partial extension,
of the subjects
one might reason-
ably conjecture, of his long-standing interest in the theatre. His acquisitions of the 1950s, in particular,
an attraction to
a certain
and indigence of the
seem
to
have been impelled by
kind of subject matter, to images of suffering
sort exemplified in Picasso's
Blue Period. Just
once did Wertheim venture outside the Blue Period in purchasing a
work
and he counted the experiment
Picasso,
1>\
bought Nude on a Red Background (1906,
1936 he
a failure. In
fig. 5),
only to
the
sell
painting a short time later. In an important sense
Nude
on a
nude
radical depersonalization of the
W ertheim's taste
for the
acquisition of any
work that aligned
1
hough he was
its
figure, represented the limit of
modern. Henceforward, he would avoid the itself
with Cubism or abstraction.
to purchase objects executed after 1910, for
Bonnard's Interior with
Race Track
Red Background, with
Still
Life of Fruit (1923,
cat.
example,
35) and Dufy's
at Deauville, the Start (1929, cat. 36), these paintings look
back to the example of late Impressionism more than they do to
subsequent idioms in modern Figure Picasso oil
Vude on
Red Background,
a
190(1.
I'Orangerie, Paris. (
At the same time, Wertheim would
purchase no work, with the exception of a drawing by Guys from
5.
on canvas,
art.
Musee de
ca.
i860
(cat. 1),
executed prior to the early 1870s.
collection, containing
When
his father's
works by Thomas Lawrence, Eugene Boudin,
Jem Walter— Paul
ruillaume Collection.
Narcisse Diaz, Corot, and several major nineteenth-century artists,
was dispersed in 1956, he did
set aside for
American
himself the Corot, as
well as a landscape by George Inness. However, he chose not to count
the Corot as part of his main collection of French objects in Jacob
Wertheim's
collection
were
American Art Association and Anderson
art.
Most of the
sold at auction
Galleries in
New
by the
York (New
York, 1936).
Many ing the
of
war
Wertheim's most
years.
favorite painting
Red
They
include The Rehearsal, by Degas (Wertheim's
by Monet
'A Sunday Afternoon on
Gras on
the Boulevards,
though not acquired
the Island
Seated Figures, Study for
of the Grand
by Pissarro
(cat. 21).
latte,''
(cat. 18);
by Seurat
and Mardi
Benoir's Seated Batficr,
until 1946, should also be thought of as an
made during
the war.
standing that the purchase price
28
(cat. 4);
Three Pairs of Shoes, by van Gogh
acquisition
were made dur-
— no mistaking his affinity for the theatre here);
Boats, Argenteuil,
(cat. 13);
significant acquisitions
It
was bought with the
tacit
under-
— $125,000, a near-record sum for a
Renoir
â&#x20AC;&#x201D; would launch a fund-raising drive for health facilities in Wertheim was the "anonymous buyer"
France.
accounts of the transaction liner
He
One
de France.
â&#x20AC;&#x201D; announced at a gala dinner on board the
set of headlines read:
Proceeds to Aid France"
newspaper
in the
{New York Herald
"Renoir Painting
Sold,
November
Tribune, 21
1946, p. 48).
The wartime circumstances under which Wertheim
They profoundly
these works were particular and specific.
With the advent
structure of the art market in America.
New York
found
itself for
the
European
ning in in
1
art, especially
New York
French
for
of war,
some
categories
accelerated markedly begin-
art,
940 when a rising number of buyers entered
which there was,
altered the
time the undisputed center of
first
the international art market. Prices in of
acquired
for obvious reasons, a shrinking
market
a
number
of avail-
able objects for sale. Moreover, the ownership and loan of French art for exhibition in
America came
to
be viewed as an act of patriotism,
an expression of support for the liberation of Europe and
from
its
culture
totalitarian domination.
Even before the had led
to its
World War, America's
domination of the international
War to
the Second World
United
First
States.
shift
market. But
the location of the market
telling signs. In 1945, for example,
advertising supplement to
its
moment
a suitable
carry an annual advertising section which illustrates in the art market, this
1945,
p. 51).
itself to
the
may be found in Art News added an
America the established custom of European
New
took
already enlarged editions, introducing
with these words: "If ever there were
ularly
it
Evidence of the transfer from Europe
any number of
rate in
art
capacity to purchase
York,
The
is
is
surely the time.
art
to inaugu-
magazines to
momentary
Today America, and
went on
to offer
prizes
partic-
virtually the art center of the world" {Art
editorial
it
News,
the opinion, gratuitously
one must think, that "Americans have reason
to
be grateful for the
results of these conditions as deeply as they deplore the circumstances
that brought
them about"
twenty years
later
no
New
sad proof of
how
(Reitlinger,
I,
lamented that "the season which ended in
York] was said to have been the best since 1929, a
little
Europe meant now in the top market"
1961-1970,
p. 221).
Wertheim's modus operandi
much
in the purchase of paintings
was
the same as that in his purchase of businesses. Both were cause
for intense excitement
on
Looking back on the situation
from the European perspective, Gerald Reitlinger,
less gratuitously,
July 1941 [in
(ibid., p. 51).
art,
and concentration. Experts would be consulted
Frankfurter, Sachs, and others
scrutiny. If
â&#x20AC;&#x201D; and their opinions held up to
he decided to proceed, Wertheim moved swiftly
to secure
the object of his interest. In the art market (though not so often in business), this
meant being prepared
those few instances
29
where the
to
price of a
pay top
work
is
prices.
Judging from
known, Wertheim did
not hesitate once his
mind was made
up. At the well-publicized auction
1957 of works belonging to Mrs. Cornelius
in
The Museum
founders of
Modern
of
Art,
Sullivan, one of the
J.
New
York, he paid the
highest price fetched at the sale: $5,700 for Seurat's drawing
Seatedby an Easel 1
he bidding
.it
t
Lynes, 1973,
(cat. 14;
Van Home
Sir NYilliam
lie
reported,
known
Lautrec's important The Hangover, also
private collector purchased for $30,000" {Art
W
ertheim chose
The
this
Toulouse-Lautrec
Redhead
the no less remarkable
sale,
article also
informed
emerges from the
enjo\
the stock market"
The
rise
inn
i'l
effort,
â&#x20AC;&#x201D;
â&#x20AC;&#x201D; the is
first
large
that prices have
equating prices of paintings with prices of
war the
is little
collection
and public exhi-
A
doubt that the conflation benefited
war
benefited the
effort
by raising funds from
good deal of rhetoric on the theme of cultural
preface to the exhibition French Painting from
Toulouse-Lautrec, held at
when
Sale
accompanied the proliferation of exhibitions of French
New York. The
The Metropolitan Museum
which Wertheim was
to
Garden (D P343).
(ibid., p. 10).
and there
special exhibitions.
and
over another in the
the blue-chip status that modern French art had
art prices just as it
solidarity
p. 10).
French art had become synonymous with support for the
war
Allied
The Drinker, which
Forest's
about three years
acquired in America. During the bit
"was Toulouse-
over that time, matching parallel gains on
last observation,
stocks, speaks for
Mr.
in
"The
News, 1946,
(cat. 16)
Van Home
results of the
50%
.ihout a
11I
as
he topped
readers that "the most salient fact that
its
.on tion of Impressionists in
to
49)- Similarly,
auction in 1946.
News
outstanding item of this auction," Art
.1
1
P-
Woman
a lender,
is
a case in point.
art in
David
of Art in 1941,
"At
a
time
the world hangs in breathless suspense and free nations are
invaded and subjugated,
when
vision
blurred and emotions inflamed
is
by smoke and the dust of war, when bureaus of enlightenment purvey misleading propaganda, in
some degree,
such
to reconsider
and thus of the essential
more
at
a
one
spirit of
time full
it
should be edifying, at least
century of the art
the nation which
[of France],
for the present
is
painfully distracted and humiliated than any other"
1941B,
p. ix).
civilization
(New York,
This kind of rhetoric often concluded that French
was
richer, greater,
more
to be protected
than any other,
that "the preservation of France [was] vital to world civilization"
(New York, 1943-1944, It is
Paris, p. hi).
appropriate that
when Wertheim
joined the
War
Production
Board in Washington and moved there in 1942, he should have taken his art collection
to the capital,
with him. By removing the collection from
New York
he was presenting the proper credentials. The admira-
tion for French art
had become not only
a tangible
American manifes-
tation of support for France but also a cultural mediator of sorts in the
abrupt transition of the United States from a position of isolationism to principal actor
30
on the world
stage. It
had become
a
badge represent-
Figure
6.
r**
Installation photograph of the exhibi-
tion French Painting Since iSju. Lent b\- Maurice Wertheim, Class of iyo6, Fogg Art Museum, Harvard University,
June-Sept. 1946.
ing the fitness of the nation for
its
the superiority of French culture "vital to
many and
world civilization"
role as a leader. In recognizing
â&#x20AC;&#x201D; the preservation of which was
â&#x20AC;&#x201D; the United States found a reason (among
reasons) to think of itself as the
champion
of
what was proper
just.
The Wertheim
Collection
was exhibited
Harvard University, from June It
new
was the
the Fogg Art
through September
1
time the collection
first
at
as a
7,
Museum, 1946
whole had been publiclv shown,
and Harvard and the Fogg were clear and obvious choices occasion.
Wertheim was
which marked
its
a loyal supporter of the
fortieth reunion in 1946.
The
the war" (Cambridge, 1946,
The
almost certainly advanced by Sachs, collection
would be
Wertheim was thinking
"Now
ington in 1942. following the
visit,
foundly impressed
remarkable
the
left to
exhibition was organ-
I
museum.
am
meeting of the
reason to hope that the
Sachs's
first
came during
indication that
a visit to
was by the quality and importance
collection.
.
.
.
May
I
Wash-
back in Cambridge," Sachs wrote
"I should like to say to you once again I
was
idea for the exhibition
who had
of a bequest
that
class of 1906,
meeting since the beginning of
first
p. 5).
for the
Harvard
ized to celebrate that event, as well as a "Victory
Associated Harvard Clubs, their
(fig. 6).
how
say also
of
how
pro-
your
deeply touched
I
am
by
the thought that you have in mind of possibly remembering the Fogg at a
day which
I
trust
is
far distant"
Once Sachs had learned
remembering the Fogg no opportunity
to
importance of the
31
at a
of
(FMA, 22 December
Wertheim's intention
day which
I
trust
is
1942).
of "possibly
far distant,"
he
lost
inform Wertheim about the expansion and growing
museum
as
an institution. In 1945 he mailed
Wertheim
a
copy of the
latest
in his covering letter, to
which we have
Fogg
Bulletin, devoted, as
he explained
"the wealth of the Winthrop collection to
might add," Sachs continued, "that
fallen heir." "I
the Harvard Alumni Bulletin in January will be largely devoted to the
Winthrop
number in
the collection in the near future.
to
Cambridge
these
new
and that Art News proposes
collection
.
.
Perhaps you
.
[Director of the Fogg] and
.
When
I
of art
December
you are next
[Edward] Forbes
do that this institution
where teachers
as a place
feel as
an entire
we may show you growing in
is
and music and
museum
(FMA,
are trained to serve throughout the country"
officials
18
.
do hope you will come here so that
I
acquisitions.
importance
.
to devote
1943). As a tangible demonstration of the Fogg's train-
ing program, Sachs orchestrated visits by his Harvard classes to
W
iTtheim's
through the through
New York
apartment. Wertheim himself led the classes
Winthrop had
collection, just as Grenville
his collection in
New
York
at
led
them
an earlier time (Cohn and
Siegfried, 1980, p. 8).
Sachs also
made
accompanied by
who had been
certain that the 1946 exhibition
was properly John Rewald,
a well-illustrated, scholarly catalogue.
publishing extensively on the Impressionists and Post-
[mpressionists since
coming
to
the United States in 1941 (see Bibli-
who was just completing the manuscript of The History of Impressionism for The Museum of Modern Art, agreed to prepare ography) and
half the entries,
Frederick
S.
and Frederick
Wight agreed
B. Deknatel,
to prepare the
Agnes Mongan, and
The
remainder.
became, and remained, the standard reference on the
Wertheim was
know," Rewald wrote
[cat. 9] for
whereupon he 1947).
the 'Baigneuses.' told
Wertheim
me
I
buy the
Rewald,
you
interest
my
for
large Renoir draw-
very strongly urged him to do
that you had done the
also consulted
may
Mr. Wertheim asked
to Sachs, "that
advice yesterday as to whether he should
ing
collection.
evidently impressed with the product and subsequently
sought out Rewald's advice on works by Renoir. "It to
catalogue
same" (FMA,
as well as
Meyer
17
so,
March
Schapiro,
before acquiring Renoir's Seated Bather (Rewald to the author, 16 June 1984).
On
the evidence, one might conclude that Wertheim's
judgment about
whom to
developed
judgment
as his
consult on possible acquisitions was as of
what
to purchase.
Also accompanying, or coinciding with the exhibition, was
Frankfurter's article on
June 1946 perfect
issue of
foil to
Wertheim
as a collector,
published in the
Art News (Frankfurter, 1946). The
the scholarly catalogue.
It
was written
article
was the
in the tone of a
privileged insider. Because Frankfurter enjoyed the trust of his subject,
he could gently chide him about
his taste in furniture;
and, because he had so often advised on the objects considered for
purchase, he could also furnish useful information about the motivations for
32
and the sequence of Wertheim's
acquisitions.
However, Frank-
mention one
furter neglected to
Wertheim's
significant fact about
he was on the Board of Trustees of Frankfurter's
activities in art: that
magazine.
The which
writing was related to art collecting in
art
made an
1940s. Frankfurter, for example, to collect
mechanisms by
significance of this connection lies in the
contemporary American
furter observed that
Greenwood, Leon
Wertheim
Ffartl,
art.
New York
effort to
in the
Wertheim
convince
In a coda to his
Frank-
article,
owned works by Marion
already
Gaston Lachaise, Henry Mattson, Georgia
O'Keeffe, and George Schreiber, but that he had yet to purchase "the living
Americans who [could] stand up
French immortals"
One wonders
(ibid., p. 65).
Americans" Frankfurter had in mind
from the
to the competition
what "living
exactly
â&#x20AC;&#x201D; Jackson Pollock, Willem de
Kooning, Mark Rothko, Arshile Gorky, and David Smith were hardlv subjects of close critical attention in the pages of
time
Art News
the
at
â&#x20AC;&#x201D; but the point remains that he thought such Americans existed
and that Wertheim should be buying their work. Wertheim, however,
was not persuaded. He continued
to prefer, as
he continued
to collect,
the "French immortals."
Wertheim
sixty-four. His obituary in the
that late in
Cob on 27
died at his estate in Cos
life,
New
May
York Times [28 May) reported
despite his continuing business interests and
ments, "he preferred to be considered a sportsman."
Times observed, "a trustee
of the
"He
reported that he was "a founder of the
was," the
New York
The Times
New York
.
.
.
a
also
Theatre Guild,
patron of exhibitions sponsored by the Sculptors Guild the advisory committee of the
commit-
American Wildlife Foundation,
noted fisherman and a tournament chess player."
Arts."
1950; he was
[and]
a
on
University Institute of Fine
Wertheim's membership on the Visiting Committee of the
Fogg Art
Museum was
not reported, nor was the fact that he had put
together an exceptional art collection. This information was mentioned
only later
when
the terms of his will (dated 28 September 1948)
became known, and collection to
it
Harvard
was announced that he had bequeathed the
for
art
Museum
"the benefit and use of the Fogg
of Art."
Attached to the Wertheim bequest were certain stipulations.
The
collection
was
to
remain
as a single entity;
on permanent exhibition; and use of Mrs.
Wertheim
45 East 70th Street in
it
was
to be
for as long as she
New
it
made
was
was
to
be placed
available for the
alive
and
still
living at
York. In practice, this meant that for
most of each year from 1950 until 1974, when Mrs. Wertheim the collection remained in
months,
when
New
York. Only during the
summer
she vacated the townhouse, was the collection sent to
museums
Cambridge
for
temporary
exhibition.
On
such a limited schedule the collection traveled
installation or loaned to other
being exhibited in twelve different
33
died,
museums from Texas
to
far,
Maine
for
Appendix B
(see
for the places
and dates of these exhibitions). Since
then, except for a brief return visit to
New York
in the spring of
1985, the collection has remained in Cambridge.
W crtheim sculptures
were
specified in his will to go to the
which
museum
paintings, drawings,
at his death.
and
They comprised
the objects he valued most, those he thought to be of outstanding quality.
From
the
list
he drew up in 1948, he subsequently subtracted
one painting, Soutine's Boy pp. 60-61), as
it
seemed
several works to take (cat. 5)
its
in
a Gr.een Coat (Cambridge, 1946,
him
to
not to measure up. But he added
place, notably Degas's Singer with
and Maillol's He de France
practice as a collector to add
(cat. 41). It
a Glove
had always been
and subtract from the
collection.
his
"You
in. iv
be interested to know," he had written to Sachs in 1946, "that
have
just
m\
completed a trade for two of the
collection, viz.: the
Benoir Straw Hat
Matisse Girl with Violin tional cash consideration (cat. 7) of all
U
(ibid., pp. I
important pictures in
(ibid., pp.
16-17) and the
58-59). For these and some addi-
have acquired Renoir's Self-Portrait
1876" (FMA, 25 December 1946). However, he was not
inclined to subtract paintings he really prized.
ertheim wished
to
at
The works Maurice
be remembered by were given to Harvard to
form the permanent exhibition
54
less
I
at
the Fogg Art
Museum
in his
name.
Degas
Matisse : The Maurice Wertheim Collection
to
is
designed for use
by both general and specialized audiences. The publication follows the aims and format established by the preceding volumes in the
by the Harvard University Art Museums
series of catalogues published
on their
collections.
The ings,
catalogue
is
divided into two sections: Paintings and
and Sculpture. In each
chronologically except in
l^Olt? lO
lilt?
v^ciltllO^Ut?
which
by
where there
arranged
more than one work by an
is
artist,
case the subsequent entries of that artist follow immediately
a fter t j ie first entI artist's
section, catalogue entries are
Draw-
name, the
y regardless title of
a description of
whether by the
of date.
the work, and the date of execution, followed
medium and
artist or
Each entry begins with the
by
size. All inscriptions
are given,
later hands. Conjectural information
is
denoted by [square] brackets. In measurements of paintings and drawings, height precedes
The
width; in measurements of sculpture, height precedes length. length of a sculpture points,
is
measured
as
the longest distance between two
which often extends beyond the
may
given by other sources, therefore,
base. Discrepancies in lengths
indicate that in those cases the
length of the base was measured. Measurements of
all
objects are in
centimeters, followed in brackets by measurements in inches.
The
references listed under Provenance at the foot of each entry
record the object's previous owners.
Wertheim purchased
The sequence
objects for the collection
Appendix A. The references
listed
is
in
which Maurice
summarized
under Bibliography
indicate, in short form, those sources in
in
after each entry
which the work has been
published or discussed. References to loan exhibitions are included
here only the entire
if
there was a published catalogue. However, exhibitions of
Wertheim
whether or not accompanied by
Collection,
catalogue, are listed in
Appendix
a
B.
Full bibliographic citations for abbreviated references in the text
are given in the Bibliography at the
and exhibition data
for several
end
of the book. Bibliographic
works that are well documented
where have been condensed. In such
instances, the additional docu-
mentation will be found in those citations referred initial(s) of
else-
the author(s). For example,
"W"
is
Daniel Wildenstein, Claude Monet: Biographic
to
simply by the
the short form for et
catalogue raisonne,
3 vols., Paris and Lausanne, 1974-1978. All early citations are
included in the condensed data as well as substantial later ones. Particular attention has citations
been paid
to finding
and incorporating relevant
between 1956 and 1950, the period when Maurice Wertheim
was forming the
collection.
Additional information on the materials, techniques, and condition of works in the collection
is
provided in x\ppendix C. Cross-
references in the text to works in the collection are identified by
catalogue numbers in parentheses.
35
numerous drawings and
ruys chronicled, in
<
watercolors, the pleasures
— balls,
and pastimes of French society under the Second Empire promenades, military parades, and
These representations, of which
the dance halls and brothels.
life in
A Lady of Fashion
a typical
is
example, were the subject of one of Baudelaire's most celebrated essays,
"The
Painter of
laire, "is particularly
Modern
-t.it
I
1.
/
lolland)
I .dily
1802—Paris
works, no 1
:
may
less
the rites of
whatever
artifice, to
than in the swarming ant-hill of
human
and breed are made immediately obvious
spectator's eye, in
whatever luxurious trappings the subjects
the
woman
social
life itself,
differences of class
There
ca. l86o
all
are elaborately
belong. Moreover, in the complete assemblage of his
decked" (Baudelaire, 1865,
of
Fashion,
ion they
women who
given to portraying
dressed and embellished by
Constantin Guys
Life." "Monsieur G.," wrote Baude-
is little
to the
may be
p. 54).
doubt about the "luxurious trappings" worn by
in this drawing.
From her
elaborate coiffure
down
to her
pointed walking boots, so prominently displayed beneath the ostentatious crinoline dress, the fashions are those of Paris about i860
Brown w ashes
ink 1
and blue, brown and graj iphite
I
as a
paper,
",7
g x 26
5
1
m. (15 x 10V2
165-175).
/.nine, 1899, pp.
on cream w ove
contemporary fashion
The image was
plate,
but
it
not intended to function
has the air of one.
Nor can
in.)
there be
much
doubt about the woman's
Judging from the way she
raises
class
and station in
her expensive
skirts,
society.
she represents
— "a creature of show, an object of pleasure," a u ell-to-do courtesan as Baudelaire phrases
it
(Baudelaire, 1865, p. 56).
Guys's drawing technique in this sheet corresponds closely to Baudelaire's description of the artist's usual working method.
"Monsieur G.
starts
hardly do more than space.
The
with a few slight indications in pencil, which
mark the
position
which
objects are to occupy in
principal planes are then sketched in tinted wash, vaguely
and lightly colored masses
to start with,
but taken up again later and
successively charged with a greater intensity of color. At the last
minute the contour of the (ibid., p. 17).
In
many
objects
is
once and for
of his drawings, however,
all
outlined in ink"
Guys completed
only one or two of the steps described by Baudelaire. tions identical to
preparatory to pi.
it,
A Lady of Fashion, are in the
47^ Hall, 1945,
Musee
but
Two
less finished
composi-
and presumably
Carnavalet, Paris (Dubray, 1930,
pi. 27).
Provenance: Marquis de Biron, Geneva and Carroll Carstairs Gallery,
New
Paris; Knoedler,
London;
York; Maurice Wertheim, by 1946.
Bibliography: San Francisco, 1940, no. 452; San Francisco, 1942, no. 36; Cambridge, 1946, p. 64, repr.
Hall, 1945, pi. 41; Frankfurter, 1946, p. 64;
Quebec, 1946, no. 27, pp. 71-72; Raleigh, i960, Houston, 1962, pi. 22, pp. 56-57; Augusta, 1972A, no.
p. 65;
tion of
36
Maurice Wertheim, Class of 1906, 1951.68
p. 62, repr. p.
11.
Bequest
—
63; Collec-
The Rehearsal
theme
insistent
one of Degas's
is
in his art
from 1869
to the close of his
forty years later. It represents ballet dancers,
cropped by the
violinist (partially
most
earliest paintings of dancers, the
left
working
life
accompanied by a
framing edge of the painting),
practicing in one of the rehearsal rooms of the old Paris Opera, a
building that burned in October 1873 about the time Degas to
have been working on the painting (Browse, 1949,
practice
on
Edgar Degas Parii 1834
1917
room
is
fragments
to exterior
—of the urban empty, gray
cast in a cool light
The Rehearsal^
floor space
spreading out axially from the violinist's
Degas chose
Modern Life"
1
8 V,
x Z4»/4
Signed
in black paint,
feet.
to undertake a kind of
(1865). For Baudelaire and Degas, as for
upper-class Parisians in general, the ballet
most
city's
was
a familiar spectacle
visible places of entertainment.
There were performances three times 47 x 61 7 tin.
a bit of blue sky
landscape. This partial view contrasts sharply with the
and the Opera one of the
Oil on canvas,
The
urban subject matter proposed by Baudelaire in the essay "The Painter of
ca. 1873-1878
p. 57).
thought
from three windows that open
— chimney pots, green trees,
In tackling scenes of dancers,
2.
is
a
week, and subscribers (the
abounds) had free reign to circulate where they pleased in the theatre
— in
the rehearsal rooms, the dancers' dressing rooms, and the wings
lower right:
the stage (Washington, 1984,
ol
He had
and the spectacle intimately.
Degas knew both the place
p. 14).
friends
among
the musicians in
the orchestra and, from sketching dancers in the rehearsal rooms
behind the scenes, knew dancers to the Opera class families, to
begin competing and drilling for permanent positions
they were either salary for their
let
1949, pp. 68-69). At the age of ten or eleven
go or taken on.
work and,
husband or
hand the system that brought young
the age of seven or eight, usually from lower-
company (Browse,
in the
for a
at
at first
in
the
If
latter,
they could expect a
due course, the opportunity to maneuver
a "protector"
from among those who circulated back-
stage (Reff, 1978).
Edmond
de Goncourt,
was struck by the
artist's
painting. "Yesterday
when he
visited Degas's studio in 1874,
commitment
to dancers as a subject for
spent the whole day in the studio of a strange
I
painter called Degas," he wrote in his journal. "After a great
and experiments and
essays in love
with modern
has chosen
think of
life,
trial shots in all directions,
and out of
washerwomen and
it, it is
all
the subjects of
ballet dancers.
not a bad choice.
It is a
When
many
he has fallen
modern
you come
life
he
to
world of pink and white, of
female flesh in lawn and gauze, the most delightful of pretexts for using pale, is
the one
soft tints.
who
.
.
.
Among
all
the
artists I
have met
has best been able, in representing modern
so far, life,
he
to
catch the spirit of that life" (De Goncourt, 15 February 1874).
In preparing to paint The Rehearsal, Degas proceeded in a carefully deliberated
manner. A number of drawings have survived that
are directly related in composition to individual figures in the painting.
Ranging from rapid notations
58
to precisely
executed studies from the
model, the drawings were reproduced after Degas's death in the catalogues from the sales of the contents of his studio (Paris, 19181919: Sale
nos.
II,
Sale IV, no. 284). violinist, to
227 and 247; Sale
They
III, nos.
343, 357, 359, and 5675
relate to the dancer standing
behind the
the dancer exercising at the barre, and, preeminently, to
the dancer in the middle foreground, her arms spread and her right
a
foot raised in the attitude of a developpe
However contemporary Degas's
la seconde.
choice of subject matter, his
procedures for representing that subject matter were grounded in tradition.
The drawings he produced
illustrate not only a conviction
about the need for continual drawing, an article of faith inherited
from (
a
long line of draftsmen up to and including Ingres, but also a
onviction about the essential contribution of drawing to the organ-
ization of the painting
and
its
particulars. In this respect, a charcoal
study relating to the central figure finished drawing,
which
is
is
instructive
This highly
(fig. 1).
squared for transfer to the canvas, corre-
sponds precisely to the figure in the painting, demonstrating Degas's preparatory work.
fidelity to his
Figure
i
It I
><//."
ca
charcoal heightened with white.
1873
tion, Los
1878
was Degas's
practice to paint in his studio
The Kehear-
-
1
Norton Simon Founda-
ViiL'eles.
l>\
from memory, aided
drawings. Despite the apparent informality of The Rehearsal
— an
informality suggested by the sketchiness of the figures, torsos, and
limbs intersecting at odd angles and by the strangely diagonal
composition
—
it
could have been produced no differently.
was
arresting composition
The
boldly
clearly premeditated. Moreover, the pres-
ence of pentimenti in the positioning of several dancers' feet seems to indicate that It is
Degas reworked the canvas
probable that portions of the painting were reworked at some
point after the painting
tent with
at least once.
what
is
was ostensibly
known
penchant for retouching ally accepted date of
(Pickvance, 1963,
of Degas's
finished.
This would be consis-
working habits
— notably his
— without throwing into question the gener-
1873-1874 arrived
p. 265).
The
on
at
stylistic
grounds
likelihood of a later reworking
is
sup-
ported by several disparate bits of evidence. First, a study relating to
the central figure has been dated by Lillian Browse to 1878 (Browse, 1949,
pi.
69, p. 361), although
it is
possible that the study
executed after the painting. Second, a study of
one of Degas's notebooks, in use from 1877 fied
by Theodore Reff
painting (Reff, 1976, violinist in
as
a violinist (fig. 2) in
to 1885, has
been identi-
corresponding in pose to the violinist in the
I, pi.
35, p. 133). Originally, the position of the
the painting was even closer to the drawing; infrared
examination shows that the being swiveled Figure
was
nical kind has
to
violinist's right leg was.
the right and back.
And
forward before
third, evidence of a tech-
demonstrated that the picture was heavily reworked in
2.
Edgar Degas. Study for "The Rehearsal,''' crayon and white chalk, ca. 1878.
the vicinity of the central dancer (see Appendix C). Another compo-
From Notebook
L
50. p. 17. Bibliotheque
sition
.Xationale, Paris.
40
from approximately the same period, The Dance Class
341), has been exhaustively
documented
as
(ca.
having proceeded
1875,
Figure
o-
Edgar Degas The Rehearsal, canvas, ca. 1875-1874. Collection,
New
The
oil
on
Frick
York.
through
at least
two
distinct stages of
development on
its
way
to
completion (Washington, 1984, pp. 43-62).
Degas painted two other versions of The Rehearsal. The ation in the Frick Collection of dancers
and the
texture than the
(fig. 3),
violinist, is
Wertheim
more
vari-
focusing on the central grouping loosely
handled and drier in
painting; and the variation in the
Shelburne Museum, Vermont, in which the view through the win-
dows
is
veiled,
is
executed in distemper (L 399).
Provenance: M. Manzi, Paris; Harris "Whittemore, Naugatuck, Connecticut, by 1911; Whittemore to Maurice Wertheim, 1942. Bibliography: Cambridge, 1911, no. 4; Cambridge, 1919; Lafond, 1919. p. 28; Naugatuck, 1938, no. 7; Boston, 1959, no. 34, pi. XX; Waterbury, 1941, no. 8; Frankfurter, 1941,
Frankfurter, 1946, p. 64, repr.
Quebec, 1949, no. 1951, repr.
p.
2,
19
p. p.
(ill.);
Rewald, 1946A,
pp. 6-8; Browse, 1949. pi. 37, pp. p. 8. repr. p. 9;
349-350; Coolidge, Houston, 1962, pi. 2,
pp. 14-15; Pickvance, 1963, p. 265; Berlin, 1969. p. 112
Augusta, 1972B,
3;
1976,
50, p.
1, pi.
p.
3
133; Harrison et
(ill.);
al.,
1984, no. 60; Friesinger, 1985, p. 39
Bequest
41
repr. p. 16;
30; Cambridge, 1946, pp. 6-9, repr. p. 7;
754; Raleigh, i960,
1972A, no.
II,
(ill.);
Augusta.
Coolidge. 1975, repr. p.
1983.
(ill.);
pi. II
52;
Brame and
Rewald, 1985,
â&#x20AC;&#x201D; Collection of Maurice Wertheim, Class of 1906,
p.
53
1; Reff.
Reff.
(ill.).
1951.47
.
The performer
in Singer with a Glove
represented by Degas
is
arm
pressed against the footlights of a stage, her black-gloved
toward an unseen audience. The location
where the
place of entertainment
a cafe-concert, a
is
social strata of Paris
as
raised
popular
mingled during
the second half of the nineteenth century. Economically,
it
has been
observed, the cafe-concert "was a form of speculation, a cafe with a
and
stage, floodlights, a lead singer it
\\a^ a
...
Edgar Degas i
-
-,
more lukewarm beer
to sell
among
boulevards" (Clark, 1977,
practice
ed
cm
medium on canvas, 20%xi6in.)
1
m
red pastel,
upper
left:
p.
Degas
at
one kind
at first sight
259).
the old Opera. Like
(cat. 2)
in one of the
his finished works,
all
any
at a cafe-concert,
The Rehearsal
actually painted
rooms
was
as
be spawned in Haussmann's
life to
Degas did not paint Singer with a Glove
more than he
(.1
others, the cafe-concert
form of
a perfectly appropriate
1
and liquid
prices.
Haussmann
and swift movement of troops. And
built for trade, traffic
Singer with a Glove, ca. 878
Pastel
more exorbitant
at
occupied, positively invaded, the great spaces
of private enterprise
3.
comedians:
created in the 1850's and 1860's, the sidewalks and squares of a city
1917
,
It
way
a couple of third-rate
was an
it
elaborate contrivance, painted in his studio with the use of models,
from memory, and with the aid of preparatory sketches. In this work the singer
â&#x20AC;&#x201D; with her hooded eyes,
been identified of the dav
f
as
wide mouth, and double chin
Theresa, the most popular cafe-concert performer
Clark,
1
984, pp. 220-221). She
is
represented by Degas in At the Cafe-concert,
1875-1877,
(ca.
L
380). Theresa
is
the same chanteuse le
chanson du chien
reported to have exerted an
"Go
extraordinary hold on her audience, including Degas himself.
quick and hear Theresa
at
the Alcazar
.
.
.
Degas advised
,"
"she opens her great mouth and out comes the most grossly, cately, wittily
tender voice imaginable.
could one find more?
It is
liminary drawings
(fig. 1;
And
feeling,
and
a friend, deli-
taste,
where
admirable" (cited in Shapiro, 1980,
pp. 158-159). Theresa's "great
for Singer with
â&#x20AC;&#x201D; has
and
mouth"
Paris,
is
also
the focus of two pre-
1918-1919, Sale
III, no.
542.2)
a Glove. In two other related works (L 477 and 478),
however, Theresa's distinctive features are replaced by the more conventional features of Alice Desgranges, a classically trained singer
who
posed for Degas
(ibid., pp.
161-162). In one of the pictures of
Alice Desgranges (L 477, Art Institute of Chicago), the singer
represented backed by a
trellis
and framed by leaves in the upper
corner, indicating that the setting
concert (Chicago, 1984,
the
Wertheim painting
is
is
an outdoor stage of
p. 88). It is likely this is a
left
a cafe-
finished variant on
rather than a preparatory version (Edinburgh,
1979, no. 45).
Singer with a Glove was exhibited by Degas at the Fourth Impressionist Exhibition in 1879. in that exhibition as
Figure
if
of figural representation
â&#x20AC;&#x201D; as
and gestures of modern
life
charcoal, ca. 1878. Private Collection.
42
critics
wrote of Degas's works
the artist were observing fully the conventions
1
Edgar Degas. Head of Theresa, Study- for "Singer with a Glove"
Some
if
he had pinned down the expressions
with physiognomic precision. Other
critics,
however, saw
in
them
willful
and incoherent
distortions of the
human
body. Louis Leroy, in a passage that refers to Singer with a Glove, held the latter conviction: "This artist excells in cutting a figure in two, in
hands its
making one
and sometimes two
leg thrust out of the frame,
rough sketch of the woman, remarkable
as well, as in the
for
extraordinary tones, with her arms truly independent of her thin
chest!
Not
too by
M. Degas. Oh, what
far
Almost
mount \ pes
from that
all
((
a black glove, prodigious in intensity, this
is
my
a glove,
friends!" (Leroy, 1879).
of Degas's cafe-concert compositions, including his
ambridge, 1968, checklist nos. 25-53), demonstrate a
highly experimental use of
medium. Degas frequently combined
techniques to achieve vivid textural effects not possible in a single
medium. ,1
Liquid
in
he combined normal dry pastel with
In Singer witli a Glove
medium
(see
Appendix
C).
The main composition was drawn
drv pastel, while the colored stripes of the background, as well as
the pink bodice of the singer's
gown, were executed with wet pig-
ments. In certain places, most notably the singer's raised
at
the junction of the cuff on
arm and the green and red
combination of wet and dry media has caused ary, a feathering effect, that conjures
up the
stripes a
beneath
it,
the
beading of the bound-
stuff
and texture of the
singer's ostrich plumes.
Provenance: Camille Groult, Hauke,
New
Paris,
by 1879; Dr. Heer, Zurich; Cesar de
York, to Maurice Wertheim,
May
1949.
Bibliography: Paris. 1879, no. 70; Leroy, 1879; no. 67: Quebec, 1949, no. 7,
pp. 20â&#x20AC;&#x201D;22;
Rich, 1951, p. 68; Raleigh, i960,
New
L 478
bis;
Venice, 1948,
York, 1950, foreword, no. 6;
p. 10, repr. p. 11;
Houston, 1962,
p. 16;
Dunlop, 1979, pp. 151, 153 (ill.); Edinburgh, 1979, pp. 30-31; Shapiro. 1980, pp. 161-162, fig. 10; McMullen, 1984, pp. 314, 315 (ill.), 325; Chicago, 1984, pp. 88-89 (M.); Augusta. 1972A. no. 4; Coolidge, 1975,
Clark, 1984, pp. 220-221
Bequest
44
(ill.);
p. 1;
San Francisco and Washington, 1986,
â&#x20AC;&#x201D; Collection of Maurice Wertheim, Class of 1906,
1951.68
p.
257.
During most
of the 1870s
Monet
lived in Argenteuil, a suburban
on the Seine seventeen miles downriver from
fifteen
by
city
rail,
destination for recreational pursuits
was well known
Paris
1840— Giverny 1926
quays bordering
its
its
happy boaters come
where
Boats, Argenteuil, 1875
promenade shaded by majestic trees" In
in the
Red
Boats, Argenteuil
(cited in
(24 Vs x 32 V2 in.)
left:
Claude Monet 75
a
magnificent
— which
the "happy boaters"
lies
the river several of the suburban
seems
From
a
view down-
a
— that part of the river popular with beyond the
We can
sented riding on their anchors.
p. g).
a picture that
to confirm this account of Argenteuil as a pastoral retreat.
Signed and dated in dark blue paint, lower
summer
Tucker, 1982,
Monet has painted
river in the direction of the basin
cm.
away you
a terre for their
as pieds
vantage point on the water, the painting encompasses
Oil on canvas, 61.9 x 82.4
convenient
to indulge in their nautical pastime;
then you notice some small houses serving
Red
as a
entire length. Right
owners in the pleasant part of the year. Then further,
4.
whom
— boating and Sunday outings.
notice the magnificent basin of the Seine, season, the
of
more
is
of Argenteuil lies in front of you," one observer wrote in
1869, "with
Claude Monet
place
some point during the decade. Argenteuil, only
at
minutes from the
"The town
No
Monet and the Impressionist group, many
associated with
worked there
Paris.
town
villas
sailboats that are repre-
even see on the
left
bank
of
used by vacationing Parisians,
one of which was apparently owned by Gustave Caillebotte, Monet's friend and fellow Impressionist (Houston, 1976).
drenched colors add
The
to its leisurely air.
Thus the painting would appear
to
be an accurate transfiguration
However, the
of a pleasurable stretch of the Seine at Argenteuil. is
not quite as
chosen in
and
teuil
painter's sun-
idyll
seems. For Monet, like the writer in 1869, has
it
Red Boats,
Argenteuil to ignore the urban side of Argen-
to overlook the town's attraction as a place for industry as
well as for pleasure. This becomes evident upon comparing the
Wertheim painting with Edouard Manet's on His Boat in Argenteuil exactly the at
same
(fig. 1),
picture
Monet Working
which was executed from almost
location on the river.
The same
sailboats are pictured
anchor in both paintings, the same small dock, the same suburban
villas
— but not,
line.
In Manet's version there are two smokestacks on the far shore,
it
will be observed, the
rhyming with the masts there
is
same buildings on the horizon
of the sailboats, while in Monet's painting
no smoke in the background and the chimneys have been
obliterated (Tucker, 1982, p.
1
smaller variations of the scene
18).
Monet painted two
(W
568 and 570), which, by ignoring
slightly
Argenteuil's urban sprawl, also attempt to preserve the motif within
category of landscape painting (see Clark, 1984, pp. 165-204).
Red Boats,
Argenteuil gives the impression of having been
painted rapidly, spontaneously.
improvisatory
air,
The
surface of the canvas has an
and the forms are indistinct in
places.
However,
the painting must have been worked on over a period of time. At least
45
two
parts
were painted out and reworked
(see
Appendix
C).
u%M
v, -
**'"r
V
Figure
1
Edouard Manet. Monet Working on His on canvas, 1874. Bayerischen StaatsgemaldesammlungBoat
en,
in Argcntcuil, oil
Munich.
Moreover, the water
is
made up not only
of shades of blue but of
multicolored reflections from the large boat, ostensibly red but also
containing strokes of blue and purple in the shadows and bright
yellow in the highlights. Several days, perhaps weeks, would have
been required to permit some of the thicker, textural strokes of paint to
dry before some of the thinner strokes of pigment could be applied
over is
them
(Herbert, 1979,
p. 108).
The
surface buildup on the canvas
most readily traced in the foliage around the
water
well as in the
reflections.
Provenance:
New
villas, as
[J.
B. Faure, Paris, 1876];
Durand-Ruel
to
James
York, 1893; Durand-Ruel (Sutton Sale, Plaza Hotel.
New
F. Sutton.
York,
16—17 January 1917, no. 137); E. Laffon, Paris; Paul Rosenberg, to Maurice Wertheim, June 1943.
New
York,
Bibliography: [Paris, 1876, no. 160]; [Paris, -1889. no. 27]; Alexandre, 1955. pp. 182, 193; Frankfurter, 1946. p. 64; Cambridge. 1946. p. 10, repr. p. 1 1
Rewald, 1946, pp. 9—10;
1962,
New
pi. 11,
p. 108;
Reutersward, 1948,
p.
York, 1950, no. 4; Raleigh, i960,
pp. 32-33; Augusta, ig72A, no. 20;
Tucker, 1982,
83. Bequest
47
repr. p. 285;
3,
29; Houston,
W 369; Herbert.
1979,
XX, pp. 118—120, 149; House, 1986, pi. 20. pp. of Maurice Wertheim, Class of 1906, 1951.54
pi.
— Collection
282; Quebec, 1949. no.
p. 28, repr. p.
18.
.
The Gare
Scant- Lazare, subtitled Arrival
a series of
twelve paintings by Monet on the same theme
The
449).
series
of a Train,
is
the largest of
(W
458-
was begun in January 1877, and within three months
Monet had completed
He made
at least eight paintings.
this octet the
centerpiece of his contribution to the Third Impressionist Exhibition of April 1877, which, like the critical lire
Fine
(if
*
1976, pp. 27-55).
work
dismissed Monet's
Vrts,
dismissed the work for
Pie] re \ eYon,
rivenry 1926
being leveled more
The Gare Saint- Lazare; I r rival of a /rain, L877
than
at his paint
also,
however,
52
'
.
*~,
x
101.5
Inspector
"profound ignorance of
Grimm, pseudonym
for
"disagreeable" subject matter
cm
for
like a
and found
partisan of these was Georges Riviere.
it
to
be "enormously varied, in spite of the
aridity of the subject" (Riviere,
panegj
Monet and the other
Monet's work, Riviere focused on the Gare Saint-
hether the subject
more
kind of criticism, their objections
favorably disposed toward
As an apologist series
this
is
monotonous or
tic to
1877A, pp. 9-10).
not, Riviere's criticism reads
the locomotive and industrial architecture
|" in.)
x
Signed and dated low it
1
who was
Monet's choice of modern-life subject matter
The most
\\
canvas,
its
Ballu,
handling and compositional organization. There were
critics
monotonj and "ii
at
Impressionists.
Lazare
Oil
for its
drew extensive
(ibid., p. 27).
Other writers concurred in 5.
ones,
B°g er
drawing, composition and color," and Baron
Claude Monet Parii 1840
1. ovine,
1
two preceding
leit
in black paint,
Claude Monet 77
than praise of Monet's paintings: "In one of the biggest paintings the is
Wertheim
painting] the train has just pulled in, and the engine
going to leave again. Like an impatient and temperamental beast,
exhilarated rather than tired by the long haul it
shakes
its
mane
of smoke,
it
has just performed,
which bumps against the
glass roof of the
great hall.
Around the monster, men swarm on the
pygmies
the feet of a giant. Engines at rest wait on the other side,
sound
at
asleep.
One can hear the
cries of
tracks like
the workers, the sharp
whistles of the machines calling far and wide their cry of alarm,
the incessant sound of ironwork and the formidable panting of steam" (ibid., p. 10).
Riviere's mythopoeic rhetoric
had
for
some time been common
currency in writings on the locomotive. Notwithstanding anxieties about the nature of the railroad's impact on the modern environ-
ment,
was often mythologized. The painter Couture,
it
spoke of
it
as
"a monster with
a
bronze shell and
while the writer Champfleury described
it
as a
a
for example,
tongue of
"huge machine whose
belly sows fire in the countryside at night, flying like the its
large red eyes" (Washington, 1985,
Louvre Figure
(fig. 1)
its
to his
treatment of the
sunnier analogue in the
â&#x20AC;&#x201D; indeed, in the series as a whole â&#x20AC;&#x201D; he seems not at
all
1
Claude Monet. The Gare Saint-Lazare,
on canvas. 1877. Musee d'Orsay (Jeu de Paume). Paris. oil
The Gare Saint-Lazare and
wind with
p. 55).
These are hardly attitudes Monet brings subject. In
fire,"
preoccupied with Riviere's "impatient and temperamental beast" or
with Couture's "monster with
a
bronze shell." Nor are these attitudes
that characterize Monet's earlier paintings of locomotives and the
48
(W
railroad
W
<!
heim painting
1
lie
has concerned himself with trying to organize
on canvas dealing in some way with the push and
a set of notations pull of steel
and 564). Instead, in the
155, 194, 215, 242, 556,
and the
smoke
diffuse billowing of evanescent
shifting blue-grav light.
To accomplish
—
all
in a
he positioned himself
this,
inside the largest of the glass-and-steel sheds that covered the plat-
forms
the station and faced in the direction of the Pont de l'Europe
oi
on the
(nitside (fig. 2). Riviere, in fact,
when he wrote
preoccupation else,
Monet
displays the
1877A, Lamy. The Pont int-Lazare,
'•
-
From
U Illustration,
Widenei
I
dt
7
>pe
and
the
In
wood eneravinc 11
\pril i86fi
rd
Unh ersit}
p.
that in the series,
"more than anywhere
knowledge of arranging and distributing
elements on a canvas, which \
grasped Monet's primary
is
one of
master qualities" (Riviere,
his
10).
The Gare Saint-Lazare the arrangement of elements
tiallv bipartite.
In the bottom half there are clear indications
the looseness of the painted surface solidity of
essen-
is
— despite
— of spatial depth and the hard
metal objects. In the top half of the painting, by contrast,
the existing spatial clues contradict one another, and the weightiness at
ground
too,
level gives
way
to
an impression of insubstantiality. This,
was deliberate on Monet's part
— or so
seems, for he traced the
it
metal grid over the steam and smoke rather than contriving to place tin'
metal crossbars behind the rising steam and smoke.
There were good reasons why Monet chose the Gare Saint-Lazare to paint rather
than one of the other
serviced the line to Argenteuil,
where
was the terminus he used regularly
The Pont de V Europe
In order to paint the series,
of
still
was
also
1872-1875
official
(W,
botte, a small
apartment nearby in the rue Moncey (W,
also rented,
been working on several canvases in the
Gare Saint-Lazare,
like
Red
smoky blue
was
as
series at the
work
letter 101).
same time.
on the spot in
it
But
has been observed, "was an
in appearance improvisatory,
complicated as Cezanne's, and usually involved as
which
207)
light represented in the picture.
whose technique, only
rate stages as those
(RW
Boats, Argenteuil (cat. 4), has an air
appearances are deceptive, and Monet, artful contriver
the terminus
Monet must have
of spontaneity, the quality of a painting improvised
exactly the kind of
it
with help from Caille-
In the months between January and April,
T/ie
living, so
clearance to
in the station
letter 100).
station
of 1876 (Petit Palais, Geneva).
Monet obtained
He
was
The
back and forth between
p. 169). It
The Railroad
that had figured in Manet's Caillebotte's
his family
to shuttle
the city and suburbia (Tucker, 1982,
and
five stations in Paris.
many
sepa-
lay behind a Renaissance landscape" (Her-
bert, 1979, p. 925 also discussed in
Monet began the painting
Auckland, 1985,
in the station,
much
p. 12).
of the
While
work on the
canvas would have been done in his small rented apartment, the picture stacked against others
when
not on the easel.
(It is still possible to
discern at the four corners, and at the top and bottom in the center, circular indentations in the paint caused
5o
by the stacking.) The
air of
Figure Detail,
3.
The Gate
Saint- Lazare;
Arrival of a Train, reproduced actual size.
spontaneity, therefore,
is
from
a tour de force of calculation. It springs
the weight and variety of Monet's brushstrokes and from closely
valued hues that are overlaid with thinner surface
colors, often
pulling in a different direction from those underneath
Provenance: Monet Paris,
to Ernest
(fig. 3).
Hoschede, Paris. March 1877; Charles Deudon,
October 1877; Paul Rosenberg. Paris. 1919;
Terlinden. Mannedorf. Switzerland,
ca.
Mme. Emile StaubNew York,
1923; Wildenstein,
to
Maurice Wertheim, June 1945. Bibliography: Paris, 1877. no. 100; Riviere. 1877A. pp. 9—10; Riviere, 1877B, p. 301; Zurich, 1919; Deudon. 1920. p. 307; Geffroy, 1922, p. 92;
Rene-Jean, 1923,
p.
472; Paris, 1925, no. 47; Courthion, 1926, pp. 42, no. 220; Paris. 1937. no. 374; Frankfurter, 1937.
45; Amsterdam. 1950,
repr. p. 11; Yenturi. 1939.
Frankfurter. 1946.
I. p.
152 and
p. 64, repr. p.
II, p.
312;
New
York. 19456, no. 24;
28; Cambridge. 1946. pp. 12-15. re P r
108; Quebec. 1949. no.
Reutersward, 1948, p. 281, repr. p. 16: Seitz. i960, pp. 29, 106—107; Raleigh, i960,
p. 15;
p.
5.
pi.
pp. 14-
26. repr. p. 27;
32—33; Gimpel. 1965. pp. 144-145. 177; Augusta. 1972A. no. 21; "W 459; Coolidge. 1975, p. 6; Levine, 1975. Houston. 1962.
-
li, pp.
p. 7;
Levine, 1976, pp. 27, 30, 33; Isaacson, 1978, pp. 22, 45, 108 (ill.), 210211; White, 1978, pp. 9-10, fig. 4; Herbert, 1979, p. 108; Walter, 1979, p. 52, repr. p. 55; Paris.
1980.
p.
159; Tucker, 1982.
p. 169. fig.
149; Gordon
and Forge, 1985, pp. 77, 78 (ill.); Auckland. 1985, p. 12; Friesinger. 1985, p. 40 (ill.); San Francisco and Washington. 1986. pp. 189. 191 (fig. 2), 198. Bequest Collection of Maurice Wertheim, Class of 1906, 1951 .55
—
51
.
Vladame Paul
a portrait of
is
cook and innkeeper.
Eugenie, wife of Paul Graff, a pastry
was executed
It
speed
at
— probably in a single
sitting— and the result, like the companion portrait of her husband (fig. 1), is
summary.
All areas of the
named
the terrier (reportedly
nt
from
constrvu ted
is
guesl
Claude Monet Parii 1840 in--
ei
.it
Madame
tin'
Graffs'
At the time he
ny 1926
Paul,
and
ille.
accompanies her, are
most
clearly visible in
is
and
colors;
places.
a
inn between mid-February and mid-April 1882.
umtc
(if
who
the couple as "these good people"
me" (W,
Monet chose
The inn was
letter 242).
-mall fishing village on the
place
lie
l
,1
well as the face
Monet painted Madame Paul while he was
"iull n| attentions fur
Pourv
6.
likely that
Follette) that
as
rough strokes of paint in broken
loose,
the ground of the canvas It
head and bust,
Normandy
as a principal base
are
located in
Dieppe
coast near
from which
to strike out
mi painting exclusions along the coastline during 1882.
L882
Monet included the
Wertheim
Man Oil
on canvas 65.2
1
",4.6
cm.
h
seems
1
to
portrait of Paul Graff (though not the
painting) in an exhibition in Paris, at Durand-Ruel, in
NN-.
I
le
considered
have doubted
its
it
(W,
a "curious sketch"
success.
Paul Labarriere,
letter 320)
a critic
and
generally
well disposed to Monet's work, echoed those doubts and faulted
Monet
ed .mil dated in purplish brow n paint, lower
left
Claude Monet 82
having painted the portrait
tor
14,
p.
as
though
it
were
a landscape
note 158). But William Seitz, writing in i960,
(W,
commented
favorably on the landscape affinity, pointing to Monet's turbulent (lilt
faces of the
same period
as
having an analogous quality
(Seitz,
i960, pp. 51,1 16).
A small
picture of the head of the terrier, not previously cata-
logued, appeared recently at auction (Sale,
au.
16
May
Graff, Pourville, 1882; Knoedler;
1899; Jules Strauss, Paris. 1900;
May
Durand-Ruel
Durand-Ruel,
Paris, 1908;
Wagram;
H. O. Miethke, Vienna, 1910; Paul Wittgenstein,
Vienna; Jacques Seligmann (Wittgenstein
May
Paris,
(Strauss sale, Hotel Drouot,
1902. no. 38); A. A. Hebrard, Paris, 1905; Prince de
Durand-Ruel, 18—20
York, Sotheby,
1984, no. 558).
Provenance: Paul
3
New
sale,
Stuttgarter Kunstcahinett,
1954, no. 355); acquired from Jacques Seligmann through the
Wertheim Fund,
Inc., in 1955.
Bibliography: Vienna, 1903, no. 38; Boston, 1905; Fitzgerald, 1905,
pi.
41;
Grappe. 1909, pp. 26, 78; Vienna, 1910, no. 26; Geffroy, 1920A, p. 60 (ill.); Geffrov. 1922, pp. 305—306; Reutersward, 1948, p. 143; Besson, 1949, p. 41; Deknatel, 1955, repr. inside front cover; Hoschede, i960, I, p. 119; Seitz, i960, pp. 31, 116; Raleigh, i960, p. 30, repr. p. 31;
1961,
pi.
91; Houston, 1962, pp. 32—33; Gimpel, 1963, p. 181; Augusta,
1972 A. no. 22;
Fund, Figure
1
Claude Monet. Punl
Gruff", oil
vas, 1882. Kunsthistorisches
on can-
Museum,
Vienna.
52
Seligman,
Inc.,
W 745;
1955.98
Paris, 1980. pp.
235-236. Gift
— The Wertheim
.
In Self-Portrait at Thirty-Five, Renoir presents an idealized picture of himself at \
Lewer
is
serene
fashionably at
work on (it
his
The
profile
suit.
(fig. 1).
The
is
A
offers
the
adorned with a
a silk lavalier
knotted
brushed bowler hat covers a slightly
apparent in a self-portrait from the year
hand grasping
outline of his easel, and of his
and brushes, can
he
as bland),
trimmed beard and mustache above
balding forehead that
palette
portrait.
might almost be described
the neck of a gray
before
own
just
be distinguished among the loosely
delineated forms on the right side of the painting.
Pierre- Vuguste Renoir Limogei
i
p Cagnes
B
1919
I'm'
ioir
was above
Port rait at Thirty-Five, 1876
Self-
75
.
friends
the
(
— other Impressionist painters,
ale Xouvelle-Athene-,
ti
e.
on canvas, 73.2 .
Signed
x 57.
1
cm
In particular,
brother^-,
22V2 in.)
\
in
brown wash, upper
added subsequent
iir
request
ol
l\
.it
right:
the
\mliroise Vollanl)
He
life
musicians,
executed, by one
(Daulte, 1964,
and Zola
the circle at
Self-Portrait at Thirty-
he was taken up by Georges Charpentier
— the
Alphonse Daudet, Maupassant, the Goncourt
— who commissioned him to paint portraits of his
wife and children (Rewald, 1973, PP- 381—382).
Madame
critics,
— and of the haute bourgeoisie who began
him about the time he painted
publi>lier of Flaubert, >il
painter of portraits.
Until the mid-i88os, the preponderance were portraits of
to patronize 1
(
all a
count, over two thousand in the course of his p.
;.
1
By the
late 1870s,
Charpentier had come to view Renoir as her "painter in
ordinary," her
own
court
artist,
inviting
him
to attend the salon she
organized as a meeting place for left-wing politicians and writers
(London, 1985,
p. 20).
Charpentier and
Figure
1
Pierre- Auguste Renoir. Self- Portrait, oil
on canvas, 1875. Sterling and
Francine Clark Art Institute, Williams-
town, Mass.
54
Moreover, Renoir's Portrait of Madame
Her Children
(1878, Metropolitan
Museum
of Art,
New
York) was
critics of
only with the Charpentiers but also with
a success not
the 1879 Salon
â&#x20AC;&#x201D; and therefore helped gain him additional
However,
portrait commissions.
after his
marriage in 1885, Renoir
turned his attention almost exclusively to the members of his household
own
as subjects for portraiture (see cat. 10).
Renoir's strategy for drawing attention to the face in SelfPortrait at Thirty-Five depends, in part, on careful and calculated shifts of
geometry and
color.
The head
blurred, irregular triangles and colors darker in value
in
the
more ruggedly painted
observing that the
Wertheim
set at
the juncture of two
given emphasis by surrounding
than those in the
marked
devices that stand in
is
is
rest of the painting.
contrast to the ones
employed by Renoir
self-portrait of 1875. It
self-portrait
These are
is
also
worth
was executed extremely
rapidly -so rapidly that in the lower portion of the painting Renoir
did not even take time to define the placement of the right cisely.
The arm may be
read as descending straight
down
arm
pre-
or as stretch-
ing horizontally across the body (see Appendix C). Renoir apparently i
hanged
mind about
bis
compulsion
to erase
it
situating the
arm
horizontally but felt no
completely.
Provenance: Ambroise Vollard,
Paris; Paul Guillaume, Paris, 1929;
Brandon Davis. London; Josef Stransky,
New York, by 1931; William H. New York, to Maurice Wertheim,
Taylor, Philadelphia, by 1957; Knoedler,
December
1946.
Bibliography: Vollard, 1918, p.
I,
no. 279, pi. 70; Vollard, 1920, repr. opposite
32; Flint, 1931, pp. 87-88, repr. p. 86;
New
York, 1931. no. 11; Phila-
delphia. 1933, p. 19. no. 158; Boston, 1935, no. 40; London, 1936, no. 10;
New
York, 1938, no. 34; Wilenski, 1940, p. 339; New York, 1940B, no. 34; Goldwater, 1940, p. 14, repr. cover; New York. 1941 A. no. 21; New York, 1943C, no. 89; Quebec. 1949, no. 4, pp. 11-
McBride, 1937,
p. 60, repr. p.
71;
13; Raleigh, i960, p. 46, repr. p. 47; Houston, 1962, p. 44; Daulte, 1964, pi. 2. p.
75;
D
191; Augusta, 1972A, no. 29; Fezzi, 1972, no. 235; White,
1984, pp. 57, 219, repr. Class of 1906. 1951.61
56
p. 62.
Bequest
â&#x20AC;&#x201D; Collection of Maurice Wertheim,
Seated Bather was painted
ca.
1885-1884, just prior to the extended
three-year period during which Renoir worked on the Large Bathers (see cat. 9).
This was
a period of crisis
and the Impressionists, not
work.
sion that
was
at
least for Renoir, as
he
I I
had wrung Impressionism dry and
didn't
know
either
how
an impasse" (Vollard, 1958,
I
Impressionism
for
admitted to
later
"Around 1883 there occurred what seemed
Vollard:
my
and transition
to be a
came
to the conclu-
to paint or to draw. In a p. 213).
break in
word,
I
Although Renoir's memoir
dramatizes and simplifies the impasse by focusing on departures and
Pierre-Auguste Renoir
ignoring continuities,
Limoges 1841â&#x20AC;&#x201D; Cagnes 1919
apart
from that
who by 8.
Seated Bather,
true that his
of the preceding
and following
(47% x 36 3/4
periods. Albert Barnes,
1935 was the largest collector of Renoir in the United States
it
19.7 x 93.5 cm.
in.)
76).
rejection of Renoir's
the mid- 1880s, one can recognize in the Seated Bather tension between the representation of the figure and
Signed in blue paint, lower
as to
with partisan excess "an excrescence upon the organic struc-
Without concurring with Barnes's 1
of the mid- 1880s stands
ture of his work as a whole" (Barnes and de Mazia, 1935, pp. ix
and
Oil on canvas,
work
with one hundred and seventy-five paintings, even went so far judge
ca. 1883-1884
it is
work
of
a peculiar
its
environment.
left:
The nude
Renoir
bather, given weight and solidity and painted in soft pinks
and yellows, does not seem encircling her.
There
is
to
be integrated with the rocks and water
a disjunction
between the strongly outlined
figure and the brilliantly colored landscape that seems to
fall like a
tapestry behind her, a disjunction emphasized by Renoir's handling of his
medium. Renoir painted the
bather's flesh smoothlv and evenly,
taking care in the modeling of forms. In the rocks and the water, on the other hand, the brushstrokes are clearly visible and applied with fluidity
the
and apparent spontaneity.
human
figure
It is as if
what was permanent and
Renoir aimed to find in palpable,
and in the
natural environment what was fluctuating and contingent; that inject
form and structure into the Impressionist aesthetic
John House has an explanation
for the discrepancy
of flux.
between
Renoir's treatment of the figure and his treatment of the space
around her (London, 1985, pp. 259-240).
Figure
1
Pierre-Auguste Renoir. Moulin Huet
Bay; Guernsey,
oil
on canvas, 1885.
National Gallery, London.
57
He
is,
argues that Seated
to
Figure
Bather was executed in a composite fashion
2.
Pierre-Auguste Renoir. Naiad,
oil
on
canvas, 1876. Private Collection.
Figure
worked up from small sketches
of rocky beaches that Renoir brought
back to Paris from the island of Guernsey in the
and that the figure was posed in
3.
Pierre-Auguste Renoir.
By
the Sea-
shore, oil
on canvas. 1883. Metropolitan
Museum
of Art,
ermeyer
Collection.
New
York. H. O. Hav-
â&#x20AC;&#x201D; that the background was
1885-1884,
fall
of 1883
his studio in Paris in the
when he was concerned
about giving the
(fig. 1),
winter of
human form
somatic substance. House points out that Renoir had written to
Durand-Ruel from Guernsey on 27 September with the information that he
would be returning
to Paris
with some "documents" and
"pleasing motifs" that he hoped to be able to exploit in his painting (Venturi, 1959,
I,
pp. 125-126). In the
same
letter
Renoir offered an
account of bathing practices on the island: "Here one bathes
the rocks which serve
bathing cabins, because there
as
nothing can be prettier than this mixture of together on the rocks. rather than in reality.
One would think .
.
oneself in a
Just as in Athens, the
.
men on
afraid of the proximity of
how much he was
and
else;
men crowded
Watteau landscape
women
are not at
all
it
demonstrates, as this
preoccupied with ideas about
form.
classical
House's argument
is
Naiad, executed in 1876
strengthened by the existence of a small (fig. 2).
nude figure in Seated
Bather. Therefore, just as he used the outdoor sketches island of
Guernsey
for the
oil,
Renoir borrowed the arrangement
of the figure in this painting for the pose of the
59
nothing
the nearby rocks." Renoir's refer-
ence to Athens was not a chance remark; painting does,
women
is
among
background
of the
made on the
Wertheim
painting, so
he used
his
own work
of the
1
870s for the composition of the figure.
mil recently the painting has generally been dated to 1885. This
I
date
plausible; Renoir did not deposit the painting with his dealer,
is
Durand-Ruel, until January 1886. But both the
stylistic
the subject matter strongly suggest an earlier date of
ca.
evidence and
1883-1884
(London, 1985, pp. 259-240). The brushwork and handling connect persuasively to
it
By
1883, a painting in
the Seashore (fig. 3),
which the figure
relation to the seascape \\ lien
behind
which
is
seems to
also
firmly dated to in an uneasy
sit
it.
Maurice Wertheim purchased the Seated Bather in
\n\ ember 1946 for $125,000, he paid close to the record price for painting bv Renoir up to that time.
The
transaction
a
was accompanied
fanfare and newspaper headlines and was announced at a dinner
l>\
aboard the French liner lie de France to launch a fund-raisinp; drive for health facilities in France.
Sold, Proceeds to seller,
Aid France," for
1)
1
h.
headlines read: "Renoir Painting it
had been arranged that the
Mrs. Jacques Balsan, would donate
organizing committee 1
The
[).
48).
{New York Herald
all
proceeds to the financial
Tribune, 21
November
This direct association of French art with American
funding of European postwar reconstruction followed the example sel
during the war,
when
support for French art became closely
associated with support for the Allied
war
effort (see
the Introduction).
Provenance: Deposited with Durand-Ruel by Renoir, January 1886; purchased by Durand-Ruel from Renoir. 1892; Mrs. Berthe Honore Potter Palmer, Chicago, 1892; Durand-Ruel, New York, 1894; Mrs. Jacques Balsan,
New York. 1950; Maurice Wertheim, through Durand-Ruel, November 1946.
Bibliography: Boston. 1915. no. 252; 1917. no. 12; Geffroy, 1920B,
De
Regnier, 1923.
opposite
p.
pi.
17;
p.
New
New
York, 1914, no. 19;
New
York,
157; Riviere, 1921, repr. opposite p. 40;
York, 1924, no. 14; Coquiot, 1925, repr.
40; Detroit, 1927, no. 91; Besson, 1929,
pi. 16;
1929. no. 179; London. 1932. no. 544; Paris, 1933, no. 78,
Meier-Graefe, pi.
XLIV; Barnes
and de Mazia, 1935, pp. 408-409, no. 142; Brussels, 1935, no. 64; Rogerrepr. p. 105; New York Herald Tribune, 1946, p. 48; Quebec,
Marx, 1957,
1949, no. 10. pp. 27â&#x20AC;&#x201D;29; Raleigh, i960, pi. 17,
pp. 44-45;
Boggs, 1978,
pi.
D 490;
XIX,
p.
Friesinger, 1985, p. 40
Wertheim,
60
p. 42, repr. p.
43; Houston, 1962,
Augusta, 1972A, no. 30; Fezzi, 1972, no. 620;
118; London, 1985, pp. 110-111
(ill.),
p.
43. Bequest
Class of 1906, 1951.59
â&#x20AC;&#x201D;
(ill.),
221, 239-240;
Collection of Maurice
This drawing
is
an elaborate,
Museum
of Art
(fig. 1). It is
that Renoir
made
for the oil (Rewald,
Bathers, 1887, in the Philadelphia
preparatory study
1946B,
pis.
among many
still
developmental stage
at a
drawing was done, the general outlines of the poses those of the finished painting; only the right does not correspond to
its final
attached to a smaller sheet,
Limoges 1841-Cagnes 1919
The change
the
of direction
reflects
"Large Bathers,'
become
a traveller,"
the classicizing turn in Renoir's
autumn
when
first,
what
to
Madame
â&#x20AC;&#x201D; was in
Charpentier, "and
crisis.
to paint; and, second,
strategies for representation that
(49% x 55%
art.
of 1881. ("I have suddenly
Impressionist practice
and Renoir in particular
double-sided:
paper, 125 x 140 cm.
The drawing was once
had worked
for
am a
â&#x20AC;&#x201D; that of Monet,
The
how
I
was
in a fever to see the Raphaels" [Florisoone, 1958, p. 56].) This
Pissarro,
Red and white chalk on yellowed
of the center bather
in a private collection, representing
Renoir wrote
time, not coincidentally,
ca. 1886-1887
match
closely
began in the early 1880s, coinciding with
Renoir's visit to Italy in the
Women, Study for
now
the time the
p. 168).
ill.
Two Nude
position.
arm
at
the three figures on the right side of the painting (White, 1984,
Two Nude Women 9.
one
52-45). In spite of numerous pentimenti, which indicate
that the composition was
Pierre-Auguste Renoir
Large
full-scale study for Renoir's
was
crisis
to paint
The
it.
Renoir and the
other Impressionists in the 1870s no longer seemed to
them
sustain-
in.)
Signed in red chalk, lower right:
able or even appropriate. Renoir's
way around the impasse was
revert to the past. In place of themes from contemporary
Renoir
life,
to
he
substituted traditional themes; and in place of subtle imprecisions in style,
he substituted
of the kind he
a traditional
emphasis on modeling and contour
admired in Raphael and Ingres.
Large Bathers takes
as its
major compositional source
teenth-century bas-relief sculpture by Francois Girardon,
Nymphs
Bathing, at the Fountain of Diana in the park at Versailles
Though
Renoir's composition departs from Girardon's
a seven-
(fig. 2).
relief,
the
'
.
ll;,
'
'
*
$
Figure
1
Pierre-Auguste Renoir. Large Bathers, oil
on canvas, 1887. Philadelphia
Museum S.
Tyson
of Art.
Mr. and Mrs. Carroll
Collection.
3 .^fc^BK?^
61
*"
i
1
LJ
I
Figure
2.
Francois Girardon.
Nymphs
(detail), bas-relief sculpture,
Bathing
1668-
1670. Fountain of Diana, Versailles.
general disposition of the figures (for which Suzanne Valadon posed)
— for example, the raised arm of Renoir the foreground figure in the drawing — clearly derive from and many
details of their gestures
it.
gives his figures a
volume, that
is
monumentality
of form, an almost sculptural
closely allied to Girardon's.
And
allegiance to traditional procedures, he uses the
as if to declare his
medium
of red chalk
— by then anachronistic — to complete his study. Provenance: Mme. Abel Desjardin, Maurice Wertheim, March 1947. Bibliography: Meier-Graefe, 1929, pi.
Reynolds. 1949,
pi. 10, p.
Sachs, 1954,
Raleigh, i960, pi.
630J.
p.
Wertheim,
65
Rnoedler Gallery.
p. 191. fig.
New
York, to
177; Paris, 1955A, no. 42;
42, pp. 19-20; Quebec, 1949, no. 29, pp. 75-76;
Rewald, 1946B,
pi.
Paris;
22; Pach, 1950, p. 18. repr. p. 19; Fox, 1955. p.
27; Hunter. 1958, p. 68, repr.
pi.
15;
Mathey, 1959.
69; Reiff. 1968, pp. 25-25.
117; White. 1984. p. 168 Class of 1906, 1951.77
(ill.).
Bequest
repr. p. 154;
fig.
11; Fezzi. 1972,
— Collection of Maurice
1:
.
Renard (1878-1959) became
i.ihrielle
(
hold in
1
89
shortly before the birth of Renoir's second son, Jean.
(.,
She functioned
due course,
Renoir house-
a servant in the
as
nursemaid
to the children, as
model and companion
as
She
in\ alid painter.
left
to the
housekeeper, and, in
aging and rheumatic
the household only in 1914 to marry the
American painter Conrad Slade. Gabrielle in a Red Dress was for a time
in the collection of Jean,
aboul
(
i.ihrielle
(
Pierre- Vuguste Renoir Limoge
i
3
1
1
(
iagnes 1919
ibrielle in
1.
(Dawlte.
model
1
96
is
|,
who, many years
later
wrote warmly
the book on his father (Renoir, 1962).
the subject of over two hundred paintings by Renoir
p. 75).
She
is
the principal figure (serving as
also
in countless other paintings
completed after 1905, when
Renoir began to spend extended periods in the South of France for
o.
Gabrielle in a Red Dress, 190s
reasons of health. This painting presents the sitter at the age of thirty,
and despite
)il
on
21
'/a
cam as,
54.6 x 45.7
<
m
x 18 in.) Signed m brown wash, lower
functions as a convincing portrait, one
it
of Renoir's least idealized paintings of Gabrielle.
are show
(
roseate tones,
its
11
sloping hea\
ilv
down, and her
eye, are represented as passive.
The
left
marked
contrast to a sequence of paintings of Gabrielle
executed around the time of pp.
282
2$-)
The sequence
I.
her oddly
eyes, especially
aligned
portrait stands in
which Renoir
completion in 1908 (London, 1985,
its
right:
Renoir
Her broad shoulders
comprised of works in which Gabrielle
is
— blouse 1) — and as
displayed primarily as an object for sensual contemplation
is
open,
hre.ists lure,
a pretext for
adorned with flowers and jewelry
broadly orchestrated painterly
Shortlj alter Gabrielle in a
"I arrange child.
my
want
I
subject as
a red to
I
want
effects.
Red Dress was
questioned about his working procedures. it,
(fig.
He
was
painted, Renoir
responded
as follows:
then go ahead and paint
be sonorous, to sound, like a
bell; if
it
like a
it,
doesn't
am
turn out that way,
I
put more reds or other colors
cleverer than that.
I
have no rules and no methods; anyone can look
os er
mv
shoulder or watch
how
secrets" (Pach, 1912, p. 610).
I
paint
get
— he will see that
However,
admit to considerable sophistication in
till I
at
I
it. I
no
have no
other times Renoir could
his painting procedures
and the
results that followed (Renoir, 1962, pp. 220-221).
Provenance: Jean Renoir, son of the 1927; A. Conger Goodyear,
New
artist, Paris;
Albert Flechtheim, Rerlin,
York; Paul Rosenberg,
New
York, to
Maurice Wertheim, December 1943. Bibliography: Berlin. 1927, repr. 1935.
II.
no. 26;
no. 567. pi.
1
17;
New
p. 10;
Philadelphia, 1933, p. 18; Elder,
York, 1941A, no. 77;
New
York, 1948B,
Quebec. 1949, no. 23. pp. 63-64; Pach. 1950, p. 102, repr. p. 103; p. 44, repr. p. 45; Houston, 1962. p. 44; Augusta, 1972A,
Raleigh, i960,
no. 51. Bequest
Figure
1
Pierre- Aujjuste Renoir. Gabrielle with a Rose, oil
on canvas. 191
1.
Musee
d'Orsay (Jeu de Paume), Paris.
64
— Collection of Maurice Wertheim, Class of 1906,
1951.60
The
earliest account of
and published
in 1884,
forms
a
c
ircle
"A crowd
around the parquet
where the
floor
exercise. Against the railing covered in red velvet,
among those
.don. it
(I
who
beneath
Manet
somber,
I
Si 'fit IN
I
(r
of
arrive.
Her
face
is
her make-up) and
a hlack hat.
dress in pearl gray,
ment"
calls or
charming
Her slender
figure,
counsels her, while
all
/
gy
cam as,
<jj
x 71
t>
(or
all
a capriciously braided
woman,
around them
another,
more
infernal
move-
is
(Bazire, 1884, p. 150).
main
composition and what he chooses to mi
under
appetizing. Behind this
is
make-up
framed by hazy blond hair jutting out
is
noticing the contrast between the
Oil
skaters
on the outside
despite her
Bazire's observations merit investigation.
l877
of
the spectators, a lady of fashion supports herself and watches
because
I
Bazire
has not often been referred to by subsequent
writers hut deserves close attention. Bazire wrote: strollers
Edmond
Manet's Skating, written by
those around her.
The
hard,
flat
call
He
is
surely correct in
figure in the center of the
the "infernal
movement"
of
contours of her made-up face and
cm black dress do separate her
o,,
ed in red paint, lower right:
Manet
onlookers at the
rail
from the skaters and the congregated
on the far side of the rink. For Manet has painted
the onlookers with broken, sketchy brushstrokes that have the effect of
fusing the row of figures into an undifferentiated crowd.
And he
has
painted the pair of skaters to the upper right in the same manner,
oddlv wed" ine
them between the
two
inclined heads of the
women
looking out of the painting. These figures are disproportionately small in size for their place in the composition and,
from the waist down,
appear to dissolve into the surface of the rink.
Manet's abrupt transitions in the painting from foreground to
background and from detailed head istic
to dissolving figure are character-
of his treatment in other paintings that take contemporary life as
a subject (Cafe-Concert, 1878,
Bergere, 1881-1882,
RW 280, and A Bar at the Folies-
RW 588). The abbreviations serve two purposes On
that reinforce one another.
the one hand, they deflect attention
from the subject represented and toward the means of representation, the actual process of handling the paint; and, on the other hand, they
make
the subject matter,
look long enough), is
life
a status
it is
reconsidered (as
seem doubly incongruous and
to give the painting,
making,
when
with
its
emphasis on the
it
must be
strange.
artifice of its
we
result
own
comparable to the uncertain appearance of modern
being offered for our inspection (Clark, 1984, chapter Bazire's account provides valuable evidence
activity of
The
if
modern
life
4).
on exactly which
the painting represents. His opening sentence
describes the strollers as forming a circle around "the parquet floor"
on which the skating takes of skating depicted
is
place. Clearly,
he considers that the kind
roller skating, a diversion that
fashionable in Paris in the winter of 1875-1876.
became suddenly
The vogue caught on
following the construction by an entrepreneur of a "skating rink"
the English term was retained to emphasize the novelty
66
â&#x20AC;&#x201D; in the
**
(.injiie
des Champs-F.lysees (L' Illustration, 4
\iid in
the next two years others followed in
[onore,
1
the Closerie des Lilas
at
(fig.
new
enue du Bois de Boulogne, when
Man
2
li
1
rink hoping to outdo
its
and opulence. The interior of the huge structure on the
rivals in scale .i\
on the rue de Clichy, and on
1),
the avenue du Bois de Boulogne, each
December 1875, p. 559). the Faubourg Saint-
opened
it
on
after decoration
878, was reported to look like an "enchanted palace" filled
with flowers and birds and places for dining, with an orchestra and a
where one could
special salon
"survey paintings, bronzes,
retire to
and objets d'art." The spectacle
-t.ituettes
itself
could be viewed from
i
(
Ku
the
aldi
teel
(
From \\
(
!
Ulllust)
idenei
15 1
at
I
nh
ersitj
promenades and boxes {IJ Illustration, 9 March 1878,
Until recently, however,
engra\ ing.
\pril 1876.
[an ard
raised
depii ted in the painting
is
corrects the assumption).
presence of the heads 1
artificial ice,
has been assumed that the setting
an ice-skating rink (Gribbon, 1982,
Some
p.
193,
accounts have even referred to the
perhaps to explain the green foliage above
warm
the onlookers or the absence of appropriately
<d
lothing on most of the participants (Moreau-Nelaton, 1926, p. 44;
Hanson, 1976, â&#x20AC;˘
it
p. 158).
1
p.
175)-
ed surprising, for
But any misreading should hardly be consid-
Manet has not provided the necessary
visual
information that might permit a properly unambiguous reading.
The reflecting surface of the rink ambiguity
I,
which
is
And
emphasize the most salient
painted mostlv in parallel strokes of mixed grays,
might reasonably represent say?
(to
Who can
or polished wood.
ice, asphalt,
the spinning feet of the male skater pirouetting over the left
shoulder of the central figure might equally well be balanced on
on blades.
rollers as
There
is
not a matter to be decided simply by looking.
no such ambiguity in Manet's handling of the central
figure, at least
in place,
It is
on the level of
the essential parts are clearly
detail. All
from the modeled face
to the
embroidered dress to the gloved
hands. But the social status of the figure less
problematical in
its
own way than
another question and no
is
the physical status of the
skating rink's surface. Bazire's perception of that status his choice of language;
he describes the black dress
expressed in
is
as "capriciously
braided," the face as "made-up," and the "slender figure" as
"appetizing." In other words, for
him
she has the appearance of an
elegantly dressed courtesan. But Bazire
woman
is
nowhere mentions that the
represented grasping the hand of a child. Instead of a
courtesan, then, might she not be a well-to-do mother (also overdressed, to be sure) taking her pink-faced child
on an outing?
basis of the evidence given in the painting, there
really does not alter the situation,
was the celebrated mistress Figure
no deciding.
is
though the information
in other ways, that Henriette Hauser,
whom Manet
of the Prince of
On
is
the It
of interest
used for his model,
Orange when not posing
2.
Edouard Manet. Nana, 1877. Runsthalle.
oil
on canvas,
Hamburg.
for
Manet
or pursuing a career as an actress
and 393). Manet used Mile. Hauser
as his
another painting from 1877, in which she
68
(New York,
model is
in
1983, pp. 347
Nana
(fig. 2),
represented as a
deshabille figure
powdering her nose in the presence of
All this indicates that
Manet
a gentleman.
calculated the impact of the socially
suggestive signifiers in this painting with considerable care. There
even evidence
to indicate that
may have
he
ception of Skating in order to enlarge on
he did
alter his conception
is
its
altered his original con-
areas of ambiguity.
That
not open to dispute, for the child's head,
barely materializing in the bottom left corner, insertion.
is
unquestionably a
is
Underneath the thin impasto that forms
it
are
still
late
visible
the black garments of the central figure and of the top-hatted gentle-
man
exiting to the
Moreover, X-ray photographs demonstrate
left.
that the position of the
woman's
right arm,
diagonally across her body, was shifted by position so that fig. 1). It is
it
might link up with the
hand (Appendix
C,
the immediate fore-
head rising to the woman's waist. The substitution for
its
tional balance, or it
child's
to a perpendicular
a taller, larger child into
that figure of one less obvious
Possibly
Manet
probable (again from the X-rays) that before this shift
Manet had incorporated ground,
which formerly extended
it
may have been
may have been
a matter of composi-
a matter of informational balance.
was both.
Provenance: In Manet's studio
death (inventory no. 25);
at his
Emmanuel
Chabrier (Vente Manet, Paris, Hotel Drouot. 4-5 February 1884, no.
8);
repurchased by Manet family (Vente Chabrier, Paris, Hotel Drouot, 26 March 1896, no. 9); Durand-Ruel, Paris, 1897; Auguste Pellerin, Paris, 1897;
Bernheim-Jeune,
Paris, to Joseph Hessel, Paris, 1909;
Cassirer, Berlin; Paul Cassirer, Berlin;
Mme.
Mine. Fiirstenberg-
Fiirstenberg-Cassirer, Paris;
Maurice Wertheim, by July 1949. Selected Bibliography: Paris, 1880, no. no. 8; Eudel. 1885, p. 173;
Munich, 1910,
Waldman, 1926.
II,
J.
6; Bazire, 1884, p. 150; Paris, 1884,
L., 1896, p. 367; Duret, 1902, no. 225, p. 249;
no. 17; Berlin, 1910; Proust, 1915. pp. 89-90. 101. repr. p. 24;
1923, pp. 85, 109, repr.
pp. 44-45, 67, 107,
fig.
p.
119; Berlin, 1925; Moreau-Nelaton,
224; Tabarant, 1951. pp. 514-515, no. 262;
Jamot and Wildenstein, 1952, I, no. 279, II, fig. 160; Venturi. 1959. II, p. 214; Buenos Aires, 1939. no. 86; New York, 1941B. repr. no. 80, fig. 56; Tabarant, 1947, no. 280, pp. 314—315, 376, 491, repr. p. 612; Quebec. 1949, no. 6, pp. 17—19; New York, 1950, foreword, no. 5; Hamilton, 1954. p. 271; Raleigh, i960,
p. 20, repr. p.
21; Houston. 1962.
pi. 7.
pp. 24—25; Augusta,
1972A, no. 13; Hofmann, 1973, p. 11, fig. 12; R^Y 260; Hanson 1977. PP- !5 2 !75> 20 4> %• 91; Gribbon, 1982. pp. 191-194. 199-204. fig. 79: >
Stuckey, 1983, pp. 14-15, repr. 14; Friesinger, 1985, pp. 40, 41 Class of 1906, 1951.50
69
(ill.).
New
York, 1983, pp. 182, 407, 441;
Bequest
— Collection of Maurice Wertheim,
This small
oned it
oddity.
.ui
one of Seurat's
still life, It
is
the only
at
mature
.1
still life
he
â&#x20AC;&#x201D; before, that
dates from before 1881
De Hauke
style in 1882.
known
is
to
the date puts
1
/
.died
dates the painting to ca. 1879,
nun
painting
I
In
ase of Flowers^
among
/
ner
mi
1
1S81
ca. L879
Herbert, 1962,
V>\ ember
ser\ ice in
ase oj
oJ a
1-
mi .
cam v
,
-,
as, .
(.6.4
in.)
x 38.5 cm
1
880
p.
(DR
.1
7
I
and Revvald, however,
)orra
had been discharged
I
Even
7).
this date places the
dozen surviving canvases.
'seurat's earliest
lowers Seurat positions a cylindrical vase at the
table draped with a
white cloth and streaked with sun-
impasto, the surface colors have been scumbled in thin layers over a
broadh brushed ground >il
the earliest four of Seurat's sur-
Apart from the red flowers in the vase, which have been painted
light. in
(
accurate,
3). If this is
prefer to date the painting to shortly after Seurat I
2.
among
(DH
Beaux-Arts but
Most of the early paintings were probably destroyed
Seural himsell
l>\
for military service
ase oj /lowers
viving paintings.
Georges Seurat o
up
have painted, and
Seurat's precocious arrival
is,
after Seurat had finished his studies at the Ecole des
before he was
must be reck-
earliest paintings,
lefl
isible.
\
The
effect
tion el the vase,
played
ofl
that, in several parts of the painting, has
most obvious and striking on the upper por-
is
where broad, diagonal
strokes of underpainting are
against the muted, rubbed colors
on
top.
Alter returning to Paris in late 1880, Seurat undertook a ui
been
program
intensive drawing, structuring his forms in terms of a balance of
lights
.md shadows rather than line (see
pation with tonalities
is
cat. 14).
A
similar preoccu-
evident in Vase of Flowers. However, there
an equal preoccupation with juxtapositions of color. of Charles Blanc, Seurat
had
earlier
From
the writings
become familiar with the
color
theories of Chevreul and the precepts of Delacroix. Seurat's notes
made
Delacroix's handling of color,
close to the
is
on
time he must have
been working on Vase of Flowers, are instructive.
He wrote
in a note-
book on 25 February 1881: "Saw [Delacroix's] Fanatics of Tangier [Bobaut, 1885, no. 662]. Effect of light concentrated on the principal fanatic. His shirt
his
is
streaked with delicate red strokes. Subtle tones of
head and arms. Yellowish or orangey
trousers.
orange-gray and blue-gray ground. Little
She
is
girl in
.
.
the
.
Delicacy of the
left
foreground.
frightened. Gray-green white cloth accompanied by pink
streaked undergarment, which part of the leg.
Harmony
is
of red
Provenance: Leon Appert, the
visible at the
arm and
at
and green" (Seurat, 1881,
artist's
brother-in-law, Paris;
the lower p. 13).
Mme. Leon
Boussel, nee Appert, Paris, until June 1959; Galerie Bignou, Paris, June
1939; Bignou Gallery,
New
York, to Maurice Wertheim, March 1940.
Bibliography: Paris, 1933. Seurat, no. 155 (supplement); Cambridge, 1946, p. 18,
no. 15; Frankfurter, 1946, p. 64;
Rewald, 1948, 24;
De
DH
3;
17;
New
Houston. 1962,
p.
York, 1942 A,
repr. p. 19;
York, 1948C, no. 46; Quebec, 1949. no.
Laprade, 1951. repr.
Bequest
70
pi.
New
p. 6;
DR
8, pp.
23-
7; Baleigh, i960, p. 52, repr. p. 53;
48; Augusta, 1972A, no. 33; Minervino, 1972, no.
â&#x20AC;&#x201D; Collection of Maurice Wertheim, Class of 1906,
1974.100
5.
.
than Seurat's
insistentl) appropriated, for a variety of ends,
ifternoon on the Island of the fig.
1
Not
.
of these ends
all
Si
liw ail/, profiting
Si
hapiro,
made
it
Parii
i
Bsg
i
Bgi
a
Island of the Grande Jatte' 1884-1885
The
complement But
w
11I
panel, 15.5 x 24.9 cm. in
to
sunlight on the river, the
the other hand, an advertisement
is
that the particular beer
the
from clear that the painting represents an equivalent
might be considered "cood times." In Seurat's
little
is
the "good times" represented in the painting.
far
hat today
own time
consensus about the kind of leisure that a socially
mixed, bourgeois populace might be said to enjoy on a recreational island in the Seine close to Paris, (
rare Saint-Lazare (see cat. 5) 1
by
rail
about
and Argenteuil
midway between the Thus
(see cat. 4).
Felix
ineon described the idiosyncratic tableau of figures in Seurat's
painting
9%
On
suggestion, of course,
is
il
then' was
I
<>'Âť n
that begins by
the painting, bears the fatuous caption: "As long as there are good
Seated Figures, Study for "A Sunday ifternoon on the
1
"The
poem
by Meyer
popular brand of beer, which fixes on a transmutated image of
times." i-,.
Delmore
flattering.
of the painting written
the subject of a remarkable
hwartz, 1959, pp. 190-196).
In,
Jatte (Art Institute of Chicago,
have been equally
at:
A Sunday
leisure,/Or the luxury and nothingness of consciousness?"
summer, s.
Grande
from an account
asking what the figures gaze
Georges Seurat
more
paintings from the late nineteenth century have been
ev\
I
trees"
I
.1-
a "fortuitous
Feneon, 1886,
p.
population enjoying the fresh air 1
10),
while Alfred Paulet saw
it
among
the
differently as
"the tedious to-and-fro of the banal promenade of these people in their
Ins( ribed in red paint (in a "(
manner
achet Moline" after the
dealer responsible for the addition),
Sunday one
low er right: Seural
is
best,
who
take a walk, without pleasure, in the places where
supposed to walk
Seated Figures
is
ori
Sundays"
(cited in Clark, 1984, p. 264).
a finished oil sketch for the large canvas.
Altogether, Seurat executed
some
thirty preparatory
oil
sketches and
an equal number of preparatory drawings (D1I 107-132, 135-142,
and
bi 6-644).
The Wertheim
sketch represents the site from almost
the identical position as that chosen in the final version and, judging
Figure
1
Georges Seurat. Sunday Afternoon on the Island of the
Grande
Jatte, oil
on
canvas, 1884-1886. Art Institute of
Chicago. Helen Birch Bartlett rial
Memo-
Collection.
72
the late-afternoon shadows, represents
li\
il.i\
ambridge, 1946,
(
corresponds or
1\
the same hour of the
at
it
In other details, however, the sketch
p. 24).
the large canvas. Of the five figures seated
less closely to
Lng on the grass, only the central figure in the middle background
some
has been incorporated without
alteration.
Moreover, none of the
figures exhibit the elements of peculiar, comic irony that are charac-
composed figures
teristic of the hieratically
The
sketch, or croqueton as Seurat liked to call his oil panels,
painted with I
Ulike
t
-diort, crisscrossed,
who
he Impressionists,
used to advantage the \
in the large canvas.
rich,
flickering brushstrokes of pure colors.
favored a white ground, Seurat has
dark-toned surface of the wood panel,
most parts of the sketch, to help
isible in
cohere. Strokes of lighter hues interspersed with darker
is
make the composition
— yellow, orange, lighter green — are
complementary hues
to construct the trees
and the shadows. Except where the paint appears to have been applied wet-into-wet, as in the parasol, there
is
no obvious blending of
colors
(one account of Seurat's pointillist technique incorrectly asserts that there
00 blending in this sketch
is
Seurat Jatte.
considerable store by his
[Homer, 1964, oil
p. 122]).
sketches for the
Grande
Twelve of them were exhibited, with the assistance of Durand-
rVuel, at
Paris
set
at all
the early date of 1885 in
(DH
216 221).
New York
De Hauke mistakenly
and subsequently in
identified the
Wertheim
panel as one of this group, and the error has been perpetuated
York, 1977, no. -9). In
Barnes Foundation
(DH
fact, 1
the panel
19)
Provenance: Georges Lecomte,
now
in the collection of the
was the one exhibited in
Paris;
(New
New
York.
Alex Reid and Lefevre, Glasgow and
London, by 1927; D.YV.T. Cargill, Lanark, Scotland, until 1952; Bignou Gallery, New York; Stanley L. Barbee. Beverly Hills; Maurice Wertheim (Barbee
sale.
New
York. Parke-Bernet, 20 April 1944, no. 17).
Bibliography: Paris. 1908. no. 45; Glasgow. 1927, no. 39; Zervos, 1928, p. 366; London. 1952. no. 556; Chicago, 1935, no. 29; Cambridge, 1946, p. 24. repr. p.
34;
DH
New
25;
New
York, 1948C, no. 48; Quebec, 1949, no. 12, pp. 35-
York. 1950. foreword, no. 11;
DR
122; Raleigh, p. 50, repr. p. 51;
48-49; Homer. 1964, pp. 120122; Russell, 1965, pi. 144, p. 157; Augusta, 1972A, no. 35; Minervino, 1972, Collection of Maurice ^'ertheim, no. 131; New York. 1977, no. 79. Bequest 125. p. 305; Houston, 1962,
pi. 19,
pp.
—
Class of 1906, 1951.62
74
This work belongs to a large group of independent drawings produced
by Seurat
as finished
paintings.
The
woman
ing, a
works of
subject has
art rather
been variously described
young woman
sketching, or simply a
the date has been variously put at (Russell, 1965, pi. 145),
than preparatory studies for
ca.
(DH
1884
as a
woman
read-
in a studio, and
601), ca. 1887
and 1887-1888 (Herbert, 1962,
pi. 117).
These differences of opinion, given the evidence, are not readily adjudicated.
Nor
are they differences that,
if settled,
would
signifi-
cantly alter our understanding and appreciation of the drawing. It
14.
Georges Seurat
more pertinent
Paris 1859-1891
establishing a female figure
Woman Seated by
space,
to ask
how
Seurat succeeded so well in placing and
— clothed in the curvilinear costume and elaborate headdress of the period — in a convincingly realized interior
an Easel,
and how,
at
decorative quality
ca. 1884-1888
the same time, he succeeded in giving
management
technique
is
lies
in Seurat's
G—Seurat
best studied in a detail
(twice in
black chalk and once in blue chalk,
all
three in the same hand); £ (in blue chalk); to
300
(in red chalk)
'
t~* .,.
\:
.
Figure
1
Detail,
Woman
Seated by an Easel,
reproduced actual
a
size.
75
;
t.,-
.,.:
'-<
r
,
j
sf
drawing technique, in
of subtle contrasts of dark and light values.
23.3 cm. (12 x 9V4 in.) Watermark: michallet Inscribed on the verso:
form
without apparent contradiction, compresses that interior space.
his
Black chalk on cream wove paper, 30.5 x
its
— the figure almost describes an arabesque — that,
In large part the answer
100 corrected
is
i i-i
r* J
'
i" ^'.^''Nsrrii.
(fig.
1).
The
The
distinctive results
.
I .-
'
Jri<"':'--'"
,-•''' ''. -
.
_
.
depend on the use of black chalk, probably
a
type of nongreasy conte
crayon, in combination with heavily textured paper. In of the
all
but a few
mature drawings, Seurat employed conte crayon on Michallet
paper (Herbert, 1962, pp. 46-47). conte crayon leaves a
mark
No matter how
lightly applied, the
that adheres to the toothed surface of the
paper while permitting the white of the depressions to show through.
Unlike the academic practice of the time, there
is
no erasure and no
stumping. While the manipulation of black-and-white contrast
is less
pronounced in
Woman
drawings,
replaced by a wider range of middle gravs. This nar-
it is
Seated by an Easel than in
rower tonal range seems
to
Felix Feneon, Seurat's greatest critic,
before entering the collection of Mrs. Cornelius
museum's
The Museum
first
of
Modern
AY hen the Sullivan collection was sold
was bought by Maurice Wertheim
New
Art.
loan exhibition in 1929
J.
Sullivan, one of the
York. She lent
(New York, at
1929: Maurice 'Wertheim (Sullivan
to the
1929, no. 70).
for $5,700, the highest price
artist's studio at His
no. 300); Francis Viele-Griffon; Felix
it
auction in 1957, the drawing
fetched by any work of art in the sale (Lynes, 1975,
Provenance: In the
of Seurat's
heighten the drawing's translucency.
The drawing was owned by founders of
manv
p. 149)-
death (Inventaire posthume. Dessin
Feneon; Mrs. Cornelius
sale.
New
J.
Sullivan, bv
York. American Art Association
and Anderson Galleries, 50 April 1957. no. 202). Bibliography: Paris, 1928. no. 164: New York. 1929, no. 70; Seligman. 1946. Cambridge. 1946. p. 66, repr.
no. 46; Frankfurter. 1946. p. 64, repr. p. 31; p.
67; San Francisco, 1947. no. 147;
New
York. 1948C. no. 58; Berger, 1949.
no. 48; Quebec. 1949, no. 28. pp. 73—74; Raleigh, 1960. p. 60. repr. p. 61;
DH
601; Herbert, 1962,
63; Russell, 1965.
pi.
pi.
77
pi.
28, pp.
62—
145; Courthion. 1968. repr. p. 61: Augusta. 197J.V
no. 34; Minervino. 1972. no.
Bequest
117, pp. 154-156: Houston. 1962.
D158: Lynes, 1975.
p.
149: Tokyo, 1979. no. 71.
— Collection of Maurice Wertheim, Class of 1906.
1951.70
.
The Black Countess,
for all
Lautrec was seventeen the earl]
in
its
wit and sophistication,
when he
painted
it
in Nice during a vacation
left
him
stunted and, by enforcing long-
periods of immobilization, including several Lous
5
juvenilia.
months of 1881. By that time he had already suffered
the crippling injuries that
\
is
him
ear, led
to devote increasing
months
in Nice the pre-
amounts of time
to sketching
.mil painting. \\ itli characteristic
deficiencies in his
de Toulouse-Lautrec [enri
I
Aibj
ateau
l
Malrome 1901
Countess,
the onl)
i-n't:
sailors.
a<
i
Lioice [of
my
h and
1926,
own
1
"ii artist's
-
",
x
.
1
ho. ml.
1
1
I
I
in
.
cm,
5 x 4,0.1
in.)
'<
Signed and dated left
-,j
painting subjects]
is
I,
sea looks like
brown
monogram
paint, lower 1
NN
lies
the devil to paint, just because
pp.
1
5
).;
1
trans, in
.
from
it
I
am
call
it.
quite like spin-
The Mediter-
so beautiful" (Joyant, p. 20).
Largely confirms Lautrec's assessment of his
and he does run into
it-
it is
he
between horses and
my trees look
Cambridge, 1946,
strengths and weaknesses.
horse-,
will think,"
very diversified, but
anything vou want to
He
does, as he says, succeed better
difficulty
instead of delineating the space in
my menu is
apable of doing any, even as backgrounds:
The Black Countess
Oil
"You
succeed better with horses. As for landscapes,
I
ranean
l88]
painting of the time.
wrote from Nice to a friend, "that
iiu
The Black
own
mordancy,. Lautrec in 1880 commented on
with landscape. The palm
behind the horse, seems
back, and the "beautiful"
Mediterranean
with
tree,
to sprout
is lifeless.
However,
1
his ability to paint horses,
more generally
to depict
animal motion,
is
convincing. Lautrec had lived surrounded by horses from birth, and
they appear in (Dortu, 1971,
were the a
a
large proportion of his early sketches
vols. II
and V). No
interests of his father,
less
important for his development
Comte Alphonse de Toulouse-Lautrec,
hunter and horseman who was not only an amateur draftsman of
hunting scenes (Toulouse-Lautrec, 1969, also
to
engaged Rene Princeteau,
be Lautrec's
The derives
Figure
Henri
1
tie
Toulouse-Lautrec. The
Promenade color
des Anglais, Nice, water-
and graphite, 1881. Art Institute
of Chicago. Gift of Mrs. Gilbert
Chapman
in
memory
and paintings
W.
of Charles B.
Goodspeed.
78
first art
ills.
11, 12, 14)
but
who
a painter of sporting pictures, in
teacher (Chicago, 1979,
1879
p. 65).
wit in The Black Countess, which verges on caricature,
from the juxtaposition of the countess with her coachman, who
looks like a fallen
the
drawn horse and dog
\i\i<ll\
countess
mannequin, and from the contrast in front of
not known, but her face
is
concealed, as sometimes thought, ti
them. The identity of the
a
dark
veil.
Moreover, micro-
examinal ion of the countess's face reveals no pinkish under-
opi<
Other technical information indicates that Lautrec
layers of paint. 1
painted the countess's right
nail v
arm extended,
either to grasp a
whip, an umbrella, or the horse's reins, but then painted settled dri\
>
with
without question black and not
is
by
of this pair
1
on the present composition. "I a
A
it
out and
related watercolor shows the
tun-horse carriage with the reins draped over a raised
mount attached Provenance: Malrome; M.
(
(1
to the front of
it (fig.
1).
omtesse Uphonse de Toulouse-Lautrec, the Sere de Rivieres, the
artist's
artist's
cousin; Knoedler,
mother,
New
York, to
Maurice Wertheim, November 1937Bibliography: York.
Joyarrt; 1926.
I.
pp. 52
and 254; Toulouse, 1932, no.
2;
11137. no. 2: Lassaigne, 1939. p. 39; Jewell, 1944. repr. p. 125;
furter. 1946,
p.
64, repr. p. 30;
Cambridge, 1946,
Quebec. 1949. no.
p. 20, repr. p.
21;
New
Frank-
New
25-26; Dortu, 1952, p. 5; 22; i960, repr. Raleigh, Lassaigne, 1933. p. p. 54, p. 55; Houston, 1962, pi. 20. pp. 50- 31; Caproni and Sugana, 1969, no. 65; Dortu, 1971, P99; York, 1948*
:.
no. 25;
9. pp.
Augusta, 1072. \. no. 36; Coolidge. 1975. repr.
Bequest â&#x20AC;&#x201D; Collection
80
ot
p. 6;
Friesinger, 1985, p. 39.
Maurice Wertheim, Class of 1906, 1951.64
The
original title of this painting,
de Bois), corresponds to
a
The Hangover
(in
French Gueule
popular song written by Lautrec's friend, the
chansonnier Aristide Bruant. Bruant owned the Montmartre cabaret
Le
Mirliton
— frequented by Lautrec from the time of
— where he performed his songs.
1885
At
several of solitary
the Bastille,
P340). These
Henri de Toulouse-Lautrec Albi 1864— Chateau
Malrome 1901
women: Rosa
opening
in
Bruant hung a number of
Lautrec's paintings in the cabaret (Joyant, 1926,
them
its
I, p.
among
98),
Red, Waiting at Grenelle,
t/ie
and The Hangover (Dortu, 1971, P505, P507-308,
titles,
taken from Bruant's compositions, were appar-
While the imagery
ently given to the paintings by Bruant himself.
the paintings does not specifically allude to the songs (there evidence they were composed with the songs in mind),
it
is
of
no
evokes
something of the anomie and disillusionment found in the ballads
16.
The Hangover or The Drinker,
(for
examples of the
Caproni and Sugana, 1969, nos. 210,
211, 215).
The
woman
subject of a
work
Lautrec's
1887-1889
lyrics, see
drinking alone appears frequently in
of the second half of the
paintings the figure
placed in an ambiguous setting that
is
read as the interior of
880s. In several of these
1
a
cafe or the artist's
own
As
studio.
may be
if
deliber-
ately to add to the uncertainty of place, Lautrec kept a round-topped Oil
and black crayon
(or chalk)
47.1 x 55.5 cm. (18I/2 x
21%
on canvas, cafe"
Signed in black paint, lower right:
HTLautrec
(initials in
table in his studio at
which he often posed models. The
setting in
in.)
monogram)
The Hangover, however,
is
and
tables set near a pillar
not in doubt; with
its
its
two round-topped
absence of studio references,
it
can be
read only as the interior of a cafe. But like Degas's Singer with a Glove (see cat. 3), to
which
cafe.
and particularly indebted, The
it is
Lautrec used
to 1888,
who
as a
his Absinthe
Drinker
Hangover was
(ca.
1876, Louvre),
certainly not painted in a
model Suzanne Valadon,
his mistress
appears in other Lautrec paintings of the time (Gauzi,
1954, pp. 150-136). She wears the plain white shirt popular
working-class
taking her
time
women
— as there would have been no mistaking her in Lautrec's
painting
is
composed
1981,
p.
540).
of loosely hatched strokes of transparent
paint, diluted with turpentine, thinly
drawing"
among
of the district. Therefore, there can be no mis-
— for a prostitute (Toronto, The
from 1886
in black crayon or chalk.
brushed over an "under-
The "underdrawing"
is,
in fact, an
integral part of the overall composition, clearly visible, and lending
emphasis
to the contours
Le Courrier
and
Appendix
Frangais, a local journal of the
commissioned from Lautrec
The drawing
follows the
particulars and bore
1889.
details (see
That date
is
a
main
its title
drawing
C). In early
Montmartre quarter,
after the painting (fig.
1 ).
outlines of the original painting in
when
all
published in the issue of 21 April
the terminus ad quern for the painting's completion.
However, the painting
closely resembles other portraits dating
1887 (Dortu, 1971, P276-280). Most particularly
it
been argued that the
similarities of style, pose,
from
resembles
Lautrec's Portrait of Vincent van Gogli from late 1887
81
1889
(fig. 2). It
has
and setting of the two
I
Figure
Henri after
1.
tie
Toulouse-Lautrec. Drawing
"The Hangover"
or
"The
Drinker." india ink, blue and black crayon,
ca.
March
1889.
Musee
Toulouse-Lautrec. Albi.
^'V wL Iw paintings are so pronounced that they should be viewed as companion pieces (ibid.,
hood that
p.
T/ie
340).
The arguments
are persuasive, raising the likeli-
Hangover was completed only some months
Portrait of Vincent van Gogh. But
it
had not been completed when
van Gogh departed
for Aries in February, for in April
brother in a
"Has Lautrec
letter:
leaning on her elbows on a
A
(VG
preparatory pastel study for The Hangover
Musee
of the
Provenance:
is
sale,
[Aristide Bruant?];
Maurice Masson,
Paris;
York, Parke-Bemet, 24 January 1946. no.
Brook, 1925,
2.
Henri de Toulouse-Lautrec. Portrait of
1929, repr.
Vincent van Gogh, pastel on cardboard,
Mack, 1938,
ca. early 1887.
Rijksmuseum Vincent
van Gogh, Amsterdam.
no. 79;
New
470).
in the collection
Masson
New
sale. Paris,
York, to
Home
p.
p. p.
6).
York. 1915, no. 1061; Coquiot, 1915. repr.
142; Joyant. 1926.
I.
p.
295; Lassaigne, 1939,
Van Home,
1946,
p. 10;
p. 14, repr. p.
Frankfurter. 1946.
p.
178;
76; Toronto, 1944. p. 64. repr. p.
30;
Cam-
New
York, 1948c, no. 26; Quebec, 1949, York, 1950. no. 15; Frankfurter. 1951, repr. p. 100;
42-44; New Hourdain and Adhemar, 1952, repr. no. 15, pp.
145;
pp. 98, 267, repr. p. 87; Jedlicka,
109; Montreal, 1955. no. 148; Schaub-Koch, 1955,
bridge, pp. 34-37, repr. p. 35;
VG
woman
Van Home, Montreal, 1911; Maurice Wertheim (Van
Bibliography: Figure
his
d'Albi (Dortu, 1971, P559)-
Hotel Drouot, 22 June 1911, no. 40; Stephen Bourgeois, Sir AYilliam
New
he asked
finished his picture of the
table in a cafe?"
little
after the
470; Perruchot. 1958,
p.
p.
26; Lassaigne, 1955.
137; Raleigh, i960,
Huisman and Dortu,
p.
p. 56, repr. p.
56, repr. p. 26;
57; Houston,
1962, 1964. pp. 59 and 253; Caproni and Sugana, 1969. no. 227a; Dortu. 1971, P540; Augusta, 1972A, no. 37: Toronto, 1981, pp. 319, 340. Bequest Collection of Maurice Wertheim, pi.
21. pp. 52â&#x20AC;&#x201D;53;
â&#x20AC;&#x201D;
Class of 1906, 1951.63
83
Cezanne habitually organized
Many
objects.
of the
(
the green Provencal olive
still lifes.
However,
more than one version
ment.
around a few favored
()nl\
it
en
-9-1906
l'i"
slightly larger canvas of the
I
*
Weil
with
Still Life
him
to
first
occurred in the mid-
same
Still
Life with
title in
the
Com-
Neue
in the mid-i88os.
(fig. 1),
u of Cezanne's paintings are more finished and magisterial
than these two
17.
Munich
Staatsgalerie in
for
of the same, or almost the same, arrange-
two instances are known. The
mode and the
â&#x20AC;&#x201D; reappear in
was exceptional
1870s (V 186-188), and the second, comprising
Paul Cezanne
â&#x20AC;&#x201D; the
the Oriental
jar,
the tablecloth, the pieces of cheap china
pot,
c/anne's other
paint
still lifes
elements in this taut, compressed painting
inteiisel\ colored apples,
ginger
his
In
-till lifes. It is
debatable which
came
first,
the
im or the Munich painting; possibly both were worked on
tunc her o\ er a period of time. Certainly the thick buildup of paint on t
Commode.
ca. 1885
the
Wertheim cam
as,
the
commode meet
the lights of the ginger pot and the tablecloth,
suggests 1
,1
.
x
80 * cm.
in.)
()l
is
especially visible
may have been executed over
it
the two,
wallpaper
winch
.it
it
is
the
the left
the tablet loth rises up
cropped and
more
its
of
a period of several months.
more densely compacted and is
where the darks
closed: the area of
pattern simplified; the crest of
boldly, higher than the ginger pot;
and
the spaces between the vessels are tighter.
The composition
of Still Life with
the straight lines of the table and of the objects inside. But the eye tional reason that the colors are
Commode
commode is
drawn
is
arranged so that
enclose the curving forms
to the center for the addi-
most intense there, the discretely
formed red and yellow brushstrokes of the apples standing out against the darker masses of the table and commode. In the painting, there are subtle
Figure I
'.ml
oil
i
Cezanne.
on canvas,
Still
ca.
Life with
Commode,
1885. Bayerischen
Staatsgemaldesammlungen, Munich.
84
rhymings
of shape.
The round knobs
of the
commode
subtly
'
t
ho the spherical apples, and the scalloped pattern of the wallpaper esponds to the jagged borders of the tablecloth. While the visual
rhymings contribute also contribute
h<'\
i
background I
a.k
tl\
to
the balance and
and ambiguity.
to the painting's spatial flattening
where
of the composition,
— by helping to collapse the foreground into the
in space, for example,
the
is
left side of
commode
relation to the front plane of the
beside
symmetry
commode
the
in
or to the papered wall
it?
These formal characteristics seem to corroborate Maurice Denis's di's(
ription of
Cezanne
in
1907
as
the "Poussin of Impressionism"
(Denis, 1907, p. 57). However, Denis also recognized that to stamp
Cezanne's work too firmly with a sent of
it.
Still
Commode
Life with
the willful distortions in
it
or
classicist label
the painting
it is
its
its
is
one
make
to
Meyer Schapiro
disharmony that gives
peculiar force. "In this stable rectangular composi-
character
among
although
it is
is
powerful contrast and an
a
its
assimilated to these through
human
complexity,
its
alien
the compact objects of single axis on the table,
the distorted platter.
ili
far,
precisely the introduction of
element of disorder; we are surprised by
<il
to misrepre-
calculated awkwardness? In the
tion," Schapiro writes, "the tablecloth
like soine
What
a case in point.
is
most perceptive account of the painting thus concludes that
would be
It is
like a
mountain,
figure, twisting
of cloth, the picture
a
colors
and the
tilting of
rocky creviced mass, or
and turning, with an inner balance
pi Imns. Each bend, fold, and tone
relation to neighboring shapes
its
and
is
colors.
strategically considered in
Without
would be tame and empty.
.
.
this fantastic
body
." (Schapiro,
1952, p. 60).
Provenance: Ambroise
Vollard. Paris;
Thannhauser, Munich; Paul
Cassirer,
Berlin; S. Fischer. Berlin, bv 1918; B.P.A. (private collection), Paris,
by
1959; Paul Rosenberg. Paris, to Maurice Wertheim, by 1939.
Bibliography: Vollard, 1914,
p.
146,
pi.
48; Meier-Graefe, 1918,
171;
pi.
Berlin. 1918. no. 52: Bernard, 1926, p. 149; Rotterdam, 1933, no. 2;
V
497;
and London, 1939, no. 8; New York, 1942B, no. 10; Frankfurter, 1946, p. 64, repr. p. 29; Cambridge, 1946, p. 22, repr. p. 23; Adlow, 1946B, p. 6; New York, 19476, no. 25; New York, 1948C, no. 5; Quebec, 1949, no. 11, Paris
pp. 30-32;
1952,
New
York, 1950, no. 10; Coolidge, 1951, repr.
p. 60, repr. p.
p.
757; Schapiro,
61; Raleigh, i960, p. 6, repr. p. 7; Houston, 1962,
pi. 1,
pp. 12—13; Orienti, 1970, no. 471; Tokyo, 1972, pi. 29, p. 117; Augusta,
1972A, no. 2; Cologne, 1982, pp. 15—17, 23; Friesinger, 1985, Bequest
86
— Collection of Maurice Wertheim, Class of 1906,
p.
43 1951.46
(ill.).
Three Pairs of Shoes was painted in Paris, probably in the winter of 1886-1887. Van Gogh had arrived from Holland the previous March
and soon began working from studio of lifes
models and plaster
live
casts in
the
Fernand Cormon. At the same time, he began producing
of flowers
and
fruit, partly
still
under the influence of Delacroix and
Monticelli. All told, he produced almost a
hundred
still lifes
in Paris
over the course of two years.
Three Pairs of Shoes, which
Vincent van
Gogh
crevices of paint,
The composition
sponding to the
earlier flower painting.
left side of
from the summer or
is
vertical,
with
production of
Shoes, 1886-1887
still lifes
fall of
the present painting (Appendix C, fruit
dominate
in the Paris years, he also executed a
debated series of five paintings of boots,
among them
in the series depict a single pair of boots. But
observed that the
on canvas, 49.2 x 72.2 cm. 3
9 /8 x 28V2 in.) Scratched into the paint surface, lower (i
it
all
series according to
academic procedures
his
much
the paintings
has recently been
Wertheim painting combines three
the other pictures, suggesting that van
fig. 2).
this painting
(F 255, 551-333, 352a). Except for the present work,
Oil
1886 (F 241,
bottom edge corre-
its
Although van Gogh's paintings of flowers and
Three Pairs of
ridges and sharp
Radiographic analysis reveals that the painting below relates closely to
242, 279).
Auvers-sur-Oise 1890
18.
composed over an
is
several flower studies dating
Grout-Zundert (Holland) 1855â&#x20AC;&#x201D;
marked by high
is
of the pairs
from
Gogh may have worked up
â&#x20AC;&#x201D; that
is,
this
by progressing from
middle: Vincent; scratched into the paint surface,
upper
right:
rapid
VINCENT
oil
sketches and compositional studies to a "final statement"
York, 1984, pp. 56-57). Not only the group but
left to
Three Pairs of Shoes the largest in a strong diag-
top right, the most carefully premeditated in
terms of composition. One of the of Art),
is
with the boots arranged along
it is also,
onal from bottom
Museum
(New
sunflower paintings of about the same time
as in a series of
however,
as
five canvases (F 555,
Baltimore
Ronald Pickvance observes,
been "extracted" from the Wertheim painting
may have
(ibid., p. 56). It is
painted in contrasting complementary colors of blue and orange of a
higher key, suggesting
The Wertheim historical
it
was executed
painting
lies
after the rest of the series.
on the periphery of an extended
art-
and philosophical controversy. The principal figures in the
debate are the art historian
German
Meyer
philosopher Martin Heidegger, the American
Schapiro, and the French philosopher Jacques
Derrida. In 1955 Heidegger delivered an influential lecture entitled
"The Origin
of the
under the same
Work
title
of Art,"
which was eventually published
in 1950 (Heidegger, 1964, pp. 649-701). In the
course of his complex argument about the ways in which art said to disclose "truth,"
Heidegger referred
to a painting of shoes (fig. 1)
may
be
for purposes of illustration
by van Gogh. He described
senting "a pair of peasant shoes and nothing more.
And
it
as repre-
yet
â&#x20AC;&#x201D; from the
dark opening of the worn insides of the shoes the toilsome tread of Figure
1
Vincent van Gogh. Old Shoes, canvas. 1886-1887.
oil
on
Rijksmuseum
Vincent van Gogh, Amsterdam.
the worker stands forth. In the is
stiffly solid
the accumulated tenacity of her
[sic]
heaviness of the shoes there
slow trudge through the
far-spreading and ever-uniform furrows of the
87
field,
swept by a raw
wind.
On
the leather there
lies
the dampness and saturation of the
662-663).
soil" (ibid., pp.
The ongoing
controversy centers on whether Heidegger was
correct to read the shoes as peasant shoes and then on justified in constructing
of peasant
life.
whether he was
from that supposition an empathetic narrative
Derrida argued that on philosophical grounds he was
entirely justified (Derrida, 1978, pp. 11-37). Schapiro, however,
concrete evidence of "the
any evidence of peasant
artist's
toil.
to the city,
work
to
who had
presence" in the shoes rather than
For him, the series of paintings func-
man who had moved from
tioned as self-portraits of a
saw
shifted the focus of his attention
the country
from peasant
urban work (Schapiro, 1968, pp. 203-209). Bogomila Welsh-
Ovcharov accepted
as valid
both interpretations but pointed out that on
the level of historical detail (about which Heidegger was unconcerned) the peasant of the 1880s could have been expected to wear wooden shoes, while the Parisian laborer could
have been expected
to
wear
leather boots (Welsh-Ovcharov, 1976, pp. 139-140).
Schapiro also considered
it
important to identify exactly which
painting in the series Heidegger had in mind. Heidegger informed
him
that he had seen the
Holland
(ibid., p. 205).
work
in question in an exhibition in 1950 in
Schapiro correctly surmised that Heidegger
must have seen Old Shoes (Amsterdam, 1930,
no. 6).
he must have seen the Wertheim painting, for paintings by van
Gogh
also
it
At the same time
was among the
on exhibition in Amsterdam
(ibid., no. 20).
Provenance: Vincent W. van Gogh, the artist's nephew, Amsterdam; Johanna van Gogh-Bonger, the artist's sister-in-law, Amsterdam; Sale. Hotel Drouot, 31 March 1920, no. 62; Joseph Hessel, Paris; Marcel Rapferer, Paris [ca.
1925]; Wildenstein,
New
York, to Maurice Wertheim, October 1945.
Bibliography: Amsterdam, 1905, no. 72; Berlin, 1914, no. 40; Paris, 1925B, no. 5; Paris, 1927; Amsterdam, 1930, no. 20; Paris, 1937B, no. 132; New York, ig45B. no. 7; Frankfurter, 1946. p. 64, repr. p. 21; Cambridge, 1946, pp. 26-29, re P r P- 27; New York, 1948C, no. 65; Quebec. 1949. no. 13, pp. 35â&#x20AC;&#x201D;37; Raleigh, i960, p. 16, repr. p. 17; Houston, 1962. pi. 5. pp. 20â&#x20AC;&#x201D;21; -
Schapiro, 1968, p. 205;
1976, 1980,
p. 16;
Wertheim,
89
F 332; Augusta, 1972A,
139; Derrida, 1978,
p.
New
p.
York, 1984,
25
(ill.);
p. 36.
Class of 1906, 1951.66
no. 38;
Welsh-Ovcharov,
Hulsker, 1980, no. 1234; Walker,
Bequest
â&#x20AC;&#x201D; Collection of Maurice
s.
mie painters never write
ing Van
becomes an
thai their writing
rogh stands out
(
they can avoid
if
among
to family, especially to his
the
new contemporary
.1
essential
latter.
others do
so convinc-
it
complement
to their art.
His letters to friends and
brother, Theo, are the literate testimony
of his intention- as a painter. for
it;
They
are also the expression of his hopes
own with
art able to hold its
the great art of
the past.
The
Gogh
portrait van
\
incent van (io^li t-Zundert (Hoi
Gi
I
16
M.i\
53-
1889.
It is
one of
where he
lived
the second
self-
from February 1888
five painted there, out of
(New York,
is
Self-Portrait
in
Dedicated to Paul Gauguin,
I
\
1888
first
heo dated September 17:
m\
(it
Van Gogh's
1984, p. 34). At least twenty-
reference to the painting
"The
third picture this
1
VG
in a letter
is
week
is
a portrait
557; dates and translations of van Gogh's letters
follow those of Jirat-Wasiutynski et
quired
left
almost colorless, in ashen tones against a background of pale
self,
eronese green"
a<
al.,
1984). In order to paint
it,
.
cam x
ned
as,
60
",
x
49-4 cm.
in a
igVi in.)
Vincent
Vrles; inscribed in red
paint,
upper
1
G
auguin
.1
mon ami
I'.
I
am
letter.
"Someday you
will also see
my
sending to Gauguin, because he will keep
Theo
self-portrait, I
it,
hope.
It is
lower
ri^ht
lei
subsequent
w Inch
-ukI inscribed in red paint,
he
mirror. But he also deliberately transformed and exagger-
.1
ated the features he saw reflected back at him, as he explained to in
to
some thirty-seven
four were done dining the previous two years in Paris before he for the South.
9.
did in Aries,
painted during his lifetime
Use 1890
Paul Gauguin
Self-Portrait Dedicated to
ml
(signature and inscriptions are
barel) U-^ible)
all
The
ashen graj against pale Veronese green (no yellow).
thi-
brown
coat with a blue border, but I
have exaggerated the brown
into purple, and the width of the blue borders. Light colors
The head
is
modeled in
painted in a thick impasto against the light background
with hardly any shadows. Only like the
clothes are
(VG
Japanese"
I
have made the eyes
slightly slanting
545, early October 1888).
At the heart of van Gogh's concerns in the South was a revival of portraiture as a forceful category in contemporary painting.
portraiture he hoped to articulate a that
would restore
new iconography
to art the necessity
and
vitality
of
Through
modern
life
he found in the old
masters. But he also understood that the old categories of subject
matter in painting painting,
if it
were
(as in life)
to find a
were breaking down and sensed that
broad audience, needed to salvage what
could from the past and at the same time explore resentation.
With
this in
win the public with the future,
I
am
new means
mind, he pursued portraiture.
portrait,"
sure, lies there"
(VG
he wrote
to
"We
it
of rep-
must
Emile Bernard, "the
B15, August 1888).
As he had before in Holland, van Gogh began doing "portraits of the people" in a systematic way, choosing for his subjects a uniformed
Zouave (F 425 and 424), the postman Roulin and
his family (F
452-
456, 492-493, and 505-507), the peasant Patience Escalier (F 403 and 444), and
Eugene Boch (F
also called Portrait
Figure
1.
Vincent van Gogh. Portrait of Eugene Bocli, oil on canvas, 1888. Musee
weeks before
it
462).
The
Portrait of Eugene Boch
of a Poet, was described in
a letter to
9째
Theo
1),
several
was actually painted. Not only does the description
demonstrate van Gogh's ambitions for portraiture but
d'Orsay (Jen de Paume). Paris.
(fig.
it
describes his
strategy for effecting them. "I should like to paint the portrait of an
re 2 I'.
ml Gauguin
W
s
Arables," oil
FUjksmuseum Amsterdam.
I
Porti ait: " /.r>
on canvas,
i
who dreams
artist friend
as faithfully as I can, to \
incent
\
an
(
great dreams. ... So
I
paint
him
as
he
is,
sss
begin with. But the picture
is
not yet finished.
Jogh,
To
finish
it I
am now
going to be the arbitrary
the fairness of the hair,
I
even get
to
colorist. I
exaggerate
orange tones, chromes and pale
citron-yellow. Behind the head, instead of painting the ordinary wall of the lit
mean room,
best,
I
paint infinity,
most intense blue that
I
I
make
a plain
background of the
can contrive, and by this simple
combination of the bright head against the rich blue background,
I
get a mysterious effect, like a star in the depths of an azure sky"
(VG
520, mid-August 1888).
The hoped
description drives
home
the symbolic dimension van
to inject into his portraiture. "I
want
to paint
men
with that something of the eternal which the halo used
or
Gogh
women
to symbolize,"
he wrote (VG 551, early September 1888). The Self-Portrait Dedicated to
Paul Gauguin
is
best understood in these terms.
to convey, as well as
how
it
hopes to convey
it
What
it
hopes
â&#x20AC;&#x201D; by means of exagger-
ated contours, harsh color juxtapositions, and thickly textured brush-
work â&#x20AC;&#x201D; makes works the
it
a counterpart to
artist is
have in the
first
conceived
place
aimed
the Portrait of Eugene Boch. In both
as a spiritual figure, a secular saint.
at
"I
the character of a simple bonze wor-
shipping the Eternal Buddha," he explained to Gauguin about his
own image (VG 92
544a, late September 1888).
Thus he not only gave
Figure
himself the slightly slanting eyes of a "Japanese" but also arranged
5.
Photograph of Vincent van Gogh's Self-Portrait Dedicated to Paul
Gau-
the emerald green brushstrokes behind his head in a circular pattern suggestive of a "halo."
The
reference to the bonze, or monk,
guin taken under ultraviolet illumination.
from
his recent reading of Pierre Loti's
Madame
came
Chrysantheme.
At the beginning of October van Gogh inscribed his finished
mon ami
portrait "a to
Paul Gauguin,"
at
self-
the top in red, and shipped
it
Pont-Aven, where Gauguin was working with Bernard. Van Gogh
had not
definitely decided to send this
when he
artists.
He wanted
have a chance
to
(VG
there
is
compare
if
his
artists to join
clear that he also
wanted
own: "His portrait gives
measured up. "So now
to
him
be certain his work stood up to theirs.
me
above
all
(fig. 2)
applies equally to his
absolutely the impression of
Only Gauguin joined van Gogh in
Gauguin
carried
van Gogh's
Aries.
it is
(ibid.).
Though
self-portrait
he arrived on October 25 (New York, 1984,
93
at
in a "studio of the South," but
representing a prisoner. Not a shadow of gaiety"
However,
him by the
some time he had wanted
says of Gauguin's self-portrait
stated that
earlier,
my painting with what the comrades "My painting holds its own, I am sure
a slight competitive edge. For
What he
few days
545, early October 1888). In van Gogh's tone of voice
Gauguin and other it is
judge
to
are doing," he informed Theo. of that"
until a
received in exchange the self-portraits promised
other two last I
work
it is
sometimes
with him
p. 171), this is
when
not known.
certain that following the collapse of their relationship,
rogh's attack of insanity,
and Gauguin's subsequent return north,
\
.hi
(
rauguin displaj ed the painting along with other works by van
(
in In- Paris studio (Jirat-YVasiutynski et al.,
1984,
p. 9). It
Gogh
remained in
rauguin's ow nership, sbifting locations in Paris but not accompanying
(
him
t"
1897
ahiti, until
I
ibid.
in Muiiii
li.
i-\aiiij)lcs ol
1919
In
.
he sold it
for three
hundred francs
entered the collection of the
hut nut to stay.
modern
it
art a-
in 1896 or
Neue
Staatsgalerie
Denounced by the Nazis along with other •degenerate,"
it
was
sold at auction in
Switzerland in 1959 (Roh, 1962, pp. 56-575 see Introduction).
The of \
how
,ni
portrait's
tin' p. tinting
rogh's neck
(
movements have some bearing on the question sustained the
t
1
In-
age
1
.
(
(
(fig. 3).
has sometimes been suggested, intentionally
if lie
did,
was he
also responsible for
remov-
rauguin and his signature? Recent technical and
resean h suggests that van
Gogh
did not purposefully
painting or erase the signature (Jirat-Wasiutynski et
tin'
198
a-
damage? And,
ing hi- dedication to historical
visible to the left of
and shoulder and to the right above his head
Did \,m Gogh himself, inl'lii
damage
dam-
al.,
rauguin, on the other hand, was almost certainly responsible,
between 1895 and 1895,
for the rather
clumsy
restorations. For this
reason, conservators have decided to leave the repairs as they are, to
them stand
let
of
its
as a material part of the
painting and an integral part
history.
Provenance: Paul Gauguin,
until 1896 or 1897;
Ambroise Vollard, Paris
through another dealer]; Paul Cassirer, Berlin, after 1900; Mrs. Hugo von Tschudi. Munich; Neue Staatsgalerie, Munich, 1919; Maurice Nazi
sale.
Wertheim
Lucerne, Fischer Gallery, 30 June 1959, no. 45).
Bibliography: Duquesne-van Gogh, 1911, repr.
as frontispiece; Stuttgart,
1924, no. 40; Scherjon and de Gruyter, 1937, no. 90; Frankfurter, 1946,
Cambridge, 1946, pp. 30-33, repr. p. 31; New York, 1948C, no. 66; Quebec, 1949, no. 14, pp. 38-41; New York, 1949, no. 78A;
p. 64, repr. cover;
Life, 1949, pp. 26-27, repr. p. 26; Coolidge, 1951, repr. p. 755;
1951, no. 80;
Bewald. 1953; VG,
III, p.
20, repr. p. 19; Roll, 1962, pp. 57, 233—234; Houston, 1962,
24; Erpel, 1964, no. 35;
F 476;
pi. 6,
pp.
Roskill, 1970, pp. 129, 241, pis. VII
102; Augusta, 1972A, no. 39; Pollock and Orton, 1978,
1980, no. 1581; Toronto, 1981.
Leymarie,
37 passim.; Baleigh, i960, pp. 18—
fig.
New
32, pp. 49, 184;
pi.
22—
and
40, p. 52; Hulsker,
Hammacher,
1982, p. 176
York, 1984, no. 99; Jirat-Wasiutynski et al., 1984; Friesinger, Collection of Maurice Wertheim, Class of 1985, pp. 42 (ill.), 43. Bequest
(ill.);
—
19°6, i95 l6 5
94
\
Poemes Barbares takes
its title
a collection of
poems exhibiting
a
by Leconte de Lisle (published in 1872).
fascination for the exotic
The
from
painting was executed in Tahiti in 1896, the year following
Gauguin's second and
voyage to French Polynesia. Before leaving
final
He wanted
France, he exchanged letters with August Strindberg.
the
writer to promote an auction of his work and used Strindberg's letter
"Who
declining the invitation as a preface to the sales catalogue.
then?" Strindberg wrote.
-n
1
/-<
O Islands)
w 1Q ta kes
"his it
sale, Paris,
own
little
It
(25% x i878 upper
left:
is
the maker, in
a literal sense, of
creature." Fashioned in the form of an ima<rinarv idol,
hand
right
its
its
knees drawn
a golden orb radiating shafts of light.
has been suggested that the figure represents Ta'aroa, the principal
mythology and creator of
deity in Tahitian
its
universe, and that
in.)
Inscribed, signed, and dated in black paint,
9"
crowd"
Hotel Drouot, 18 February 1895).
squats in the lower left corner of the painting with
up, holding in
on canvas, 64.6 x 48 cm.
his
prefers to see the sky red rather than blue with the
1° Poemes Barbares Gauguin
-LjCLY*UCIT*CS
1896
Oil
hates an
own little creature — a child make others, who renounces and defies,
apart his toys to
j
(Gauguin
±OC77lCS
who
Gauguin, the savage
moments makes
Creator, in his lost
who 20.
is
inconvenient civilization, something of a Titan who, jealous of his
•
Pans 1848-Hiva Oa (Marquesas
"He
he,
is
Poemes BarBares/ P Gauguin
Gauguin
depicts
pp. 18-19).
making the heavens (Zink, 1978,
in the process of
it
Gauguin was
certainly familiar with the symbolism of the
— primarily from the earlv nineteenth-centurv writings A. Moerenhout, which he read in 1892 (ibid., p. 18) — even
Maori religion of
J.
though by the time he arrived the fallen into disuse.
But
it is
religion
had atrophied and largely
what the
less clear
fire-eyed idol has in
common with
the contemplative angel in the painting.
even
on recognizing that the "angel" combines Christian
less clear
And
it
becomes
wings, a Tahitian physiognomy, and a mudra-like Buddhist gesture. It
was
this
blend of disparate, exotic elements that upset Camille
Pissarro about an earlier painting in
angel,
The Vision after
(1889,
fig.
1).
it
Gauguin
for
do
I
Sermon (Jacob Wrestling with
a
manifesto of
having painted
object to the
the foreground.
artistic
a rose
two struggling
What
I
dislike
is
primitivism. "I do not criticize
background," wrote Pissarro, "nor
fighters
and the Breton peasants in
that he copped these elements from
the Japanese, the Byzantine painters and others.
I
criticize
applying his synthesis to our modern philosophy which social,
the Angel)
Executed in Brittany seven years before the Wertheim
was
painting,
the
which Gauguin depicted an
is
him
for not
absolutely
anti-authoritarian and anti-mystical" (Pissarro, 1972, 20 April
1891). Pissarro, in other words, faulted of broad, flat areas of color,
and for
his
Gauguin much
means
less for his
use
of outlining figures in
bold contour, than for his primitivizing antinaturalism.
Kirk Varnedoe has recently written on Gauguin's complicated position as "the primitif oi modernist primitivism,
figure" (Varnedoe, 1984, pp. 179).
having been central
95
He
its
original, seminal
views Gauguin's eclecticism
to his primitivist enterprise
and understands
it
as
as
Figure
1
Paul Gauguin. The Vision after the
Sermon (Jacob Wrestling with Angel),
oil
the
on canvas. 1888. National
Gallery of Scotland. Edinburgh.
having issued logically from European suppositions and attitudes of
mind about
cultural syncretism (ibid., pp. 179-209). According to
Varnedoe, Gauguin did not intend his hybrid imagery to be worked
through do),
literally
by viewers
(as
any more than he intended
fiction.
By the same
much it
to
recent scholarship attempts to
be dismissed
token, Varnedoe emphasizes,
his simplifications of
form and
as
incomprehensible
Gauguin intended
color to register his synthetic aims.
Provenance: Anonymous
collection (Sale. Paris, Hotel Drouot, 16
no. 30); Dr. Alfred "Wolff.
Munich, by 1912;
1924; A. Conger Goodyear, Buffalo and
Wertheim. through "Wildenstein.
New
New
Sir
June 1906,
Michael Sadler. England, by
York, by 1929: Maurice
York. April 1957.
Bibliography: Cologne, 1912. no. 167; Burger. 1913. I, p. 82 and II. pi. 31; Gauguin. 1919. 14 February 1897; Morice, 1919, repr. facing p. 176; London. 1924, no. 59;
New
York. 1929. no. 47; Alexandre. 1930.
p. 182. repr. p.
167;
New
York, 1936C, no. 34; Cambridge. 1956. no. 33; p. Cleveland, 1936. no. 280; Toledo. 1956. no. 6; Gauguin. 1957. repr. facing
Wilenski, 1931,
p.
289:
217; Rewald. 1958. repr.
p. 162;
New
pp. 38-41, repr. p. 39; pp. 45—47; repr. p.
p.
117; Brooklyn. 1958; Jewell. 1944. repr.
York. 194GB, no. 31; Frankfurter. 1946,
Van
New
p.
64; Cambridge. 1946.
York. 1948C. no. 16; Quebec. 1949. no. 16,
Dorski, 1950, no. 328; Dorival, 1951, p. 118;
82; Baleigh, i960,
p. 14. repr. p. 15; Field, 1961, pp.
Huvghe. 1959. 145-146;
Houston, 1962, pp. 18-19; Wildenstein. 1964, no. 547; Sugana, 1972, no. 373; Augusta, 1972A, no. 10; Zink, 1978, pp. 18—21. Bequest Collection of
—
Maurice Wertheim, Class of 1906, 1951.49
97
.
"On Shrove Tuesday,"
Pissarro wrote to his son Lucien, "I painted
the boulevard- with the crowd and the
w
ith affe< ts of
rowd
in
canvas
is
i
shadow" one of
Pissarro, 1972, 5
March
1897).
The Wertheim
(PV 995-997) that Pissarro did 1897, which that year fell on March 2.
a trio of paintings
he other two paintings are
I
of the Boeuf-Gras,
sun on the serpentines and the trees, and the
Mardi Gras parade in
lie
1
march
Los Angeles, and
in the
now
Armand Hammer
in the
Kunstmuseum Winterthur,
he
I
rhomas (West Indies
Si
1830
I'.iris
1903
ity's vistas, its street life,
1
Mardi Gras on the Boulevards.
that had eluded its
i
In the
.
moment
)il
-'
on
5%
am as,
1
6
\
\ s >>
<>
<
i
W
cm.
x 51' t
mi dated low it
left
(.
in
and peasant
dÂŤ'< .id''
citing to
hat his dealer
his
him during most
him much
less
life
and, in
some
instances,
work achieved the commercial
success
he chose to tackle the
of his career,
before his death in 1903, he produced over one
hundred paintings of (
spectacles, attracted
Paris.
on industrial incursions into the countryside. Beginning in 1893, lm\\c\ er, just at the
1H97
modern
than they did his colleagues. Instead he focused on landscape, concentrating primarily on agrarian
21.
and
Collection,
Switzerland.
Before the 1890s, Pissarro painted few scenes of
Camille Pissarro
of
Paris.
Lucien from Paris in February 1897, Pi ssarro reported
Durand-Ruel had been "very pleased" with some
blue black paint,
Pissarro
97
scenes he had painted of the rue Saint-Lazare. of the boulex ards seems to it
v\ ill
room
1
a
at
the
Grand Hotel de Russie,
1
.
From the
elevated
I
engaged
a large
rue Drouot, from which
whole sweep of the boulevards.
897
series of paintings
good idea," reported Pissarro, "and
be interesting to overcome the difficulties.
see the ar\
him
"A
windows
.
." (Pissarro,
of his hotel
I
can
1972, 8 Febru-
room
Pissarro
painted, with Durand-Ruel's encouragement, a total of fifteen views of the
boulevard des Italiens and the boulevard Montmartre (PV 986-
1000), the street represented in each, the street
Figure
1
Camille Pissarro. The Versailles Road at
Louveciennes.
oil
on canvas, 1870.
Sterling and Francine Clark Art Institute,
Williamstown, Mass.
98
is
Mardi Gras on
the Boulevards. In
represented receding from the picture plane on a
slight diagonal.
But the conditions of light and weather, ranging from
sun and rain to day and night, are always different.
It is
almost as
Pissarro decided to treat the boulevards as a category of landscape
model
to take as a his series in
his
own
to paintings
landscapes of an earlier period (for example,
1870 of the Versailles Road
at
Louveciennes;
by Manet and Monet. Both
artists
(.(>()
1897 Mardi Gras parade that
flags
wound
way beneath
its
(RW
270 and
1870-1871,
it
had been suppressed.
again until the 1890s. In affair that
its
It
was not
The
Pissarro's
former times
times led to disorder in the streets, and following the
it
window
had some-
Commune
officially
of
sanctioned
revived state Maj-di Gras was a tamer
emphasized the throwing of confetti and streamers, inven-
tions of la belle e'poque, i^
festivals in
the wider boulevards of Paris.
a carefully orchestrated public event. In
It
1).
low ever, they showed the streets of the older quarters,
I
.
liereas Pissarro chose to paint
was
fig.
had painted
1878 showing the streets of Paris decked out with
w
and
terms of subject matter, the Mardi Gras paintings are indebted
In
\Y
if
and
a
parade with
floats
(Robson, 1930).
the latter spectacle that Pissarro presents to us. Offsetting the
gray tones of the buildings and the sky are the livelier hues of the streamers.
The YVertheim
picture
is less
densely and fully worked than
the other two in the series and, for John Rewald, "seems to be the happiest of the three paintings" (Cambridge, 1946, p. 42). However,
Ralph T. Coe Pissarro
from
finds
it
deficient,
along with certain other paintings by
this period, because of its
"penchant
for purely casual
effects" (Coe, 1954, pp. 105-106).
Provenance: Mme. Camille Pissarro, the artist's wife; Lucien artist's son, London; Maurice Wertheim, by 1943.
Pissarro, the
Bibliography: Paris. 1904, no. 101; Paris, 1914, no. 31; London, 1920, no. 86;
Manson, 1920,
no. 91;
PV
repr. facing p. 83; Paris, 1921, no. 6; Paris, 1930,
996; Frost, 1943, p. 21;
19446, no. 6;
New
New
York, 1943-1944, no. 20;
York, 1945A, no. 35; Frankfurter, 1946,
p.
64;
New
York,
Cam-
bridge, 1946, pp. 42-45, repr. p. 43; Quebec, 1949, no. 17, pp. 48-50; Coe,
1954, p. 107; Raleigh, i960, p. 40, repr. p. 41; Houston, 1962,
43; Augusta, 1972A, no. 28; Shikes and Harper, 1980,
London. 1981. p. 141; Washington, 1982-1983, of Maurice Wertheim, Class of 1906, 1951.58
100
p.
p.
pi. 16,
pp.
42â&#x20AC;&#x201D;
297, repr. p. 296;
258. Bequest
â&#x20AC;&#x201D; Collection
Like the double-sided Young Girl Wearing a Large Hat j Woman with
a Chignon
The
(cats.
22 and 23), Mother and Child
present painting of the seated mother holding her child
imposed on a portrait of
Max
Picasso
had executed
in an article
a portrait of Jacob
by Jacob on Picasso
The
p. 57).
Malaga, Spain 1881-Mougins 1973
Mother and
Child,
books, an
made known
who added
was corrobo-
that he
remembered
Wertheim Mother and
970s,
1
when
radiographic analysis
a detail) reveal a figure seated
image that squares
fully
among an assortment
memory
with Jacob's
(44% x 3 8%
1
12.3 x 97. 5 cm.
in.)
of
of the paint-
p. 57).
According to Jacob, the portrait was done in June 1901 on canvas,
in 1927
X-ray photographs of the canvas (Appendix C,
p. 37).
ing (Jacob, 1927,
Oil
that
was undertaken in the Fogg's conservation laboratories
(Deknatel, 1976,
shows
super-
"maternite" over the portrait (Vallentin, 1957,
a
Child was finally confirmed in the
fig. 3,
1901
first
existence of the portrait under the
of the painting
24.
was
The information
(Jacob, 1927, p. 37). It
rated in the 1950s by Picasso himself,
having painted
is
Jacob (Deknatel, 1976, pp. 37-42), the
poet and early companion of Picasso in Paris.
Pablo Picasso
a twice-used canvas.
is
month when the
Vollard exhibition opened (see
â&#x20AC;&#x201D; the
22 and 23).
cats.
Jacob had expressed admiration for Picasso's work to Pedro Mafiach, a
Signed in dark brown paint, upper right: Picasso (underlined); signed in black paint, lower left: Picasso (very faint)
dealer-agent and one of the promoters of the exhibition, and Maiiach
had arranged
and Jacob
for Picasso
to meet. "I
went
them,
to see
Mafiach and Picasso," wrote Jacob. "Picasso spoke no more French
than
I
enthusiastically.
.
.
.
and Picasso painted over,
we
did Spanish, but
my
looked at each other and shook hands
They came the following morning a
huge canvas, which has
portrait seated
on the
floor
my place,
to
since been lost or covered
among my books and
in front of a
large fire" (ibid., p. 37).
Jacob was correct in of Picasso's largest
remembering the canvas
image was
few months
obliterated, for
after the portrait
with a Chignon
(cat. 23). It is
Picasso's Blue Period.
color
is
"huge"
from 1901) and correct in surmising that
have been covered over. But he seems not his
as
to
was completed, therefore
close in
among
Woman
time
beginning the
new
a
raking light, one can
still
of Jacob's head, just to the left of the
The
figure of the
huddled under
and right hand
Woman
with a Chignon, the is
mark-
down
the
painting, thus giving extra
make out the
bowed head
If
the painting-
raised contours
of the mother.
mother in the successor painting
a blanket,
a
the earliest paintings of
weight and density to the surface texture of the canvas.
feet
to
severely curtailed to a range of blues, and the paint
viewed in
might
have known how speedilv
edly looser and less dry in handling. Picasso did not scrape
is
it
one
Mother and Child was executed only
Compared with
portrait of Jacob before
(it is
is
represented
her eyes closed, clasping a child. Her bare
â&#x20AC;&#x201D; unnaturally, even grotesquely,
attenuatedâ&#x20AC;&#x201D;
protrude from the blanket, and on her head she wears a formless shawl. There are few visual clues in the painting about precisely setting
105
mother and child occupy: the room
is
what
represented without
Figure
1
Pablo Picasso. Mother and Baby in
Front of a Bowl of Flowers,
oil
on
cardboard, 1901. Private Collection, Paris.
furniture (the
woman
the background
is
sits
on the
floor,
her back against the wall), and
sectioned off by a curtain falling to the
floor.
With-
out doubt the painting presents an image of destitution and poverty,
and in
this respect
differs
it
markedly from most
of Picasso's earlier
mother-and-child paintings, which were executed before the of 1901. is
Among
summer
the works completed prior to the Vollard exhibition
Mother and Baby
Front of a Bowl of Flowers
in
cast in strong values
and
set in
an interior
open celebration of motherhood
filled
a maternity
(fig. 1),
with flowers.
an
It is
— a treatment of the subject that
contrasts sharply with the ambivalent attitude toward maternity
registered
by Picasso in the Wertheim painting.
Michael Leja has investigated this transformation in Picasso's mother-and-child paintings of 1901-1902 (Leja, 1985, pp. 66-81). His starting point
is
a
group of paintings of
prostitutes, initiated at
about the time of the Vollard exhibition by a
Saint-Lazare, a
visit to
hospital-prison in Paris for prostitutes with venereal disease (ibid., p. 66).
Leja asks
Saint-Lazare.
why
While conceding that personal
a part in his decision
in
Picasso should have chosen to arrange a visit to factors
may have
— the suicide of his friend Casagemas,
played
an interest
French Symbolism influenced by Jacob, the possible contraction of
venereal disease himself curiosity
— Leja considers
it
most likely that
was spurred by the wide public controversy
prostitution and
government regulation
at
symptoms
ing (see
cats.
a
disease,
of syphilis,
dramatized the causes and consequences. In addition,
it,
(ibid., pp.
Newspapers ran features about prostitution, venereal
Saint-Lazare; pamphlets detailed the
107
the time about
(or nonregulation) of
controversy in which Saint-Lazare figured prominently 69).
Picasso's
it is
67and
and novels
worth
recall-
22 and 25) that Coquiot had just singled out Picasso as a
painter with an appetite for
could signifj his
modern
commitment
life
What
(Fabre, 1981, p. 514).
modernity more than an interest in
to
one of the major topics of the day?
S.iint-Lazare,
he inmates of Saint-Lazare were required to wear white
I
Phrygian bonnets, the legislated garb for venereal patients. In some paintings Picasso represents the inmates in this headgear, but paraor so
doxic all) l>\
children
I.k
t
I
would seem), he
it
fig.
1
also represents
This apparent contradiction
1.
them accompanied explained by the
is
— shocking to some visitors at the time — that children commonly
accompanied their mothers to Saint-Lazare.
Jules-
Hoche,
a journalist
writing in March 1901 about the appalling conditions in the prison,
encountered
months
since the age of six In a
who had been
a two-year-old child
number
(cited in Leja, 1985, p. 69).
of maternities
from the second half of 1901 and
and Child by
M)oj. such as Mother
incarcerated there
the Sea (1902,
D&B
VII.20), a
painting in which the stylized facial expressions of the figures closely
resemble those of the Wertheim painting, the Phrygian bonnets worn
Inmate oil
B
i
go
i
Foi merlj in the
nemisza
< I
I
'h\ ssen-
1>\
the
women
removes any overt reference
this substitution, Picasso
and venereal \
mood
This mood stems from
a
established
women. Even
is
<
by the Saint-Lazare paintings.
its
is
hardships and pressures for
those works which portray a mother consoled
hild are equivocal; celebration of their relationship
tempered by foreboding"
and
alter the pre-
perception of motherhood, Leja argues, that
"primaril) pessimistic, emphasizing
or gratified bj her
of
to prostitution
However, he does not remove or
disease.
ailing psy( hological
low er-class
By means
are replaced by shawls or flowing hoods.
ino.
(ibid., p. 72).
This description
Child. The matcrnite represented in the painting
may
fits
Mother
may
or
not
refer to something Picasso witnessed at Saint-Lazare, but the artist's
theme with
decision to invest the
pathos, to depict
it
accompanied by
poverty, was conditioned by his experience of the prison.
Provenance: Ambroise Quinn.
New
Vollard, Paris; Carroll Galleries.
New
York, to John
York. 1915; Quinn Estate. 1924—1926; Paul Rosenberg, Paris,
1926; Baron Shigetaro Fukushima, Paris; Maurice Wertheim, by January »937-
Bibliography:
New
York, 1926
The Sad Mother);
(as
The Sad Mother); Quinn, 1926,
(ill.),
88
pi. 3;
Hartford. 1954, no. 8; Estrada, 1936,
cover;
(as
New
Jacob, 1927, p. 37; Z, p.
I,
pp. 12
115; D'Ors, 1930,
43; Art News, 1937,
repr.
York, 1939, no. 17; Barr, 1946, pp. 22, 25; Frankfurter, 1946,
p. 63, repr. p.
65; Cambridge, 1946, p. 50, repr. p. 51;
New
York, 1947A,
no. 7; Quebec. 1949, no. 20, pp. 55-57; Cirici-Pellicer, 1950, p. 158, no. 121;
Boeck and Sabartes, 1955, pp. 123, 458 (ill.), 488; Vallentin, 1957, pp. 57, 449; Raleigh, i960, p. 36, repr. p. 37; Blunt and Pool, 1962, pp. 70-71; Houston, 1962. pi. 14. pp. 38-39; D&B, pp. 54, 112, VL30; Reid, 1968, pp. 207-208, 655; Finkelstein, 1970, pp. 29-30, 33-34, 36, 46, 52, 54;
Leymarie, 1971, pp. 10-11; Augusta, 1972A. no. 25; Deknatel, 1976, pp. 37-42, repr. p. 39; Washington, 1978, pp. 32, 176; Fabre, 1981, no. 703; Friesinger, 1985, p.
43
Class of 1906, 1951.57
108
(ill.).
Bequest
— Collection of Maurice
Wertheim,
The Blind
Man
was painted in Barcelona
At
in 1903.
least four
draw-
ings are related to the painting (illustrated in Fabre, 1981, nos. 915915, 917)- All represent the
same
indented and limbs elongated slightly raised.
sightless, etiolated figure
â&#x20AC;&#x201D; and
all
man
depict the
The drawing most resembling the
Man
filled in
25.
October 1903 (Fabre, 1981,
The Blind
Malaga, Spain 1881-Mougins 1973
supposed (Z,
The Blind Man,
head
is
the so-called
Singing (no. 9 1 5) from a book of studies used by Picasso to
develop the compositions of several paintings.
Pablo Picasso
seated, his
painting, at least in
terms of the disposition of the head and shoulders, Blind
â&#x20AC;&#x201D; chest
I,
The sketchbook was
p. 352).
Man
was not painted in gouache,
172).
Nor was
it
sometimes
painted in several different hues, as
the eye might suspect.
The medium
agent, and the color
exclusively Prussian blue.
is
as is
is
watercolor with no thickening
There
is
not even
evidence of a graphite underdrawing. However, there should be no
1903
mistaking the care and attention paid by Picasso to the execution of the painting.
The
fastidiousness manifests itself in the precision of
draftsmanship in the hands and feet and in the exacting folds and Watercolor on cream wove paper mounted
on canvas, 539 x 35.8 cm. (23 3/s x 14% Signed in blue watercolor, lower right: Picasso ig[o3] (the last
two
digits of the
in.)
creases in the clothing. Because of the poor condition of the watercolor,
one might almost believe that the paper lights in the painting
washed-in
date are illegible)
color,
itself is creased.
have been achieved by
The high-
lifting off previously
and the darks, almost iridescent in
bv repeated
places,
applications of blue washes.
The
indigent figure represented in The Blind
Picasso, with alterations, in
Figure
1
Pablo Picasso. The Blind oil
Mans
Meal,
on canvas, 1903. Metropolitan
Museum
of Art,
Mr. and Mrs.
Ira
New
York. Gift of
Haupt, 1950.
109
The Blind Man's Meal
Man
is
reused by
(fig. 1).
The
pos-
tures of both figures are pathos, the
marked by "the
cramped postures or
work
elongations, the insistent
affected gestures" that are character-
in late 1903
and 1904 (Barr, 1946, pp. 28-29).
istic
of Picasso's
The
attenuations are reminiscent of El Greco, an affinity of form and
purpose that led Alfred H. Barr, as
"Mannerist"
first
bought by Wertheim in
works
acquisition of four
May
1956,
is
reported to
purchase of modern European art to enter the
collection (Frankfurter, 1946, p. 51). It
this catalogue
label these Blue Period
(ibid., p. 29).
Tlie Blind Alan,
have been the
Jr., to
more works by
was quickly followed by the
Picasso
— the other three entries in
and Nude on a Red Background (1906,
which Wertheim subsequently Provenance: D. H. Rahnweiler,
D&B
XVI. 8),
sold (see Introduction).
Paris; [B. Shiiler,
Bochum]; Galerie
Pierre.
by 1930; Rene Gimpel, Paris, to the Toledo Museum of Art, Ohio. 1930; Toledo Museum of Art to Edouard Jonas, Paris and New York. 1936; Valentine Gallery, New York, to Maurice Wertheim, May 1936. Paris,
Bibliography: Hildebrandt, 1913. 1930, p. 303; Z, p. 31;
I,
Cambridge. 1946,
Raleigh, i960,
p.
377; Raynal, 1921.
pi.
11;
172; Merli, 1942, p. 42; Frankfurter. 1946, p. 52, repr. p.
p. 38, repr. p.
Documents,
p. 51, repr.
53; Quebec, 1949. no. 21. pp. 58-59;
39; Houston. 1962.
pi.
15. pp.
40-41;
D\B
IX. 31; Augusta, 1972A, no. 26; Fabre, 1981, no. 916, pp. 352—353, 358.
Bequest
ill
— Collection of Maurice Wertheim, Class of 1906,
1951.56
Even the
may
attentive viewer
be deceived by the deployment of color
in Picasso's outline drawing, traditionally called
The (
cause for deception relates to the color juxtaposition of the blue
rayon on the yellow paper.
Picasso
— at least not in
are responsible for
its
Spain 1881
.
summer who
i-~
thought last
to
it
cream w .•
1
I
\
ed
1%
1
m
rayon on
in.)
graphite pei
cil,
lower
< 1
ribed on tin-
low er right: in
\
Appendix
C).
By
then, Picasso had arrived in Paris settle
a liaison with a
permanently. In the
woman named Madeleine, Woman Ironing (fig. 1),
"blue" works, and for a number of drawings and
is
crescent,
is
The Blind
(New York,
1980,
p. 56).
Mother and DaugJiter. The woman's
comparable
Man
posture, with her
right shoulder stretched in the
to that of
(cat. 25),
Among the
the figure in
Woman
form of
a
Ironing. Like
and other paintings completed in Barcelona
before Picasso's departure in the spring of 1904, the drawing
falls
left:
among
undei lined I
to yellow (see
have been the model for
preoccupied Picasso in 1905
29 6 cm.
o\ e papei
the cheapness of the paper
dated by consensus to the second half of
turned out to
bowed head and neck and i
— for the paper was white
gouaches adumbrating the theme of the Family of Harlequin, which
drawings
Blue, red, yellow, and black
is
D.XI.19).
formed
of 1904 he
one of the
Mother and Daughter, L904
26.
D&B
for the fourth time, as
Mougint 1975
Time and
change from white
and Daughter
259;
I,
was not calculated by
contrast
present intensity
the drawing.
1904 Z,
\li.i.
its
The
when he executed
Vlother
Pablo Picasso
Mother and DaugJiter.
erso in black crayon,
those works
which Alfred H. Barr,
Jr.,
described as
"Man-
nerist" (Barr, 1946, p. 29).
is
Provenance: Pierre Matisse Gallery, New York, by 1932; Pierre Matisse Gallery to M. Gutmann, October 1956; Maurice Wertheim, by 1937. Bibliography: Z. repr. p. 69; p. 67;
I.
239: Frankfurter. 1946,
Quebec, 1949, no. 30, pp. 77-78; Raleigh, i960, p. 66, repr. pi. 27, pp. 60-61; D&B D.XI.19; Augusta, 1972A,
Cambridge, 1981, pp. 53-54. Bequest
Wertlieim. Class of 1906, 1951.76
1.
Pablo Picasso. canvas, 1904.
Woman Ironing, oil on Solomon R. Guggenheim
Museum, New York.
Gift of Justin K.
Thannhauser, 1972.
112
64; Cambridge, 1946, p. 68,
Houston, 1962,
no. 27;
Figure
p.
— Collection of Maurice
£<
/ o
\
11
King the labels that have been applied to Rousseau, often in quo-
tation marks, are naive, childlike, intuitive, instinctive, primitive,
Sunday
painter,
and amateur. "Sunday painter" and "amateur" are
terms of dismissal, alluding
to Rousseau's lack of
an apparent absence of control over his media.
formal training and
The
other labels, how-
ever, are less derogatory. In particular, they force the question of
whether the consistent
qualities
found in Rousseau's
sometimes claimed, from the painter's naivete
from
(Walsh, 1985,
The Banks of the Oise belongs
Mayei ne) 1844-Paru 1910
La
_>;.
Rousseau
[enri
I
his sophistication
group of rural landscapes
most draw on
a repertory of stereotyped ingredients
W
as is
p. 9).
to a small
He de France. Most
of the paintings include figures,
and
— trees, clouds,
— that Rousseau rearranged and juxtaposed from
painting to painting
Oise. ca. 1907
come,
on the contrary,
depi( ting the
animals, pasture
The Banks of the
or,
art
'
l)V, pp.
87-88;
New
York, 1985, no. 40).
The
ertheim painting has similarities with three earlier landscapes
(DV
io,
1
-,.
225A) and
closely resembles a later
work (DV
255).
Indeed. Banks of the Oise seems to have served as a model for the later Oil on l
cam as
3 x 1 8 '/•
--
i
\
1),
which was commissioned from Rousseau
disappointed with the painting
Ubed on the back ol the stret< her: Is
fig.
lower right:
underlined
III'. 1
work Meadowland,
by the Italian author and painter Ardengo k paint,
[ns<
cm
l(S
ii
ilc I'Oim-,
1907"
mutatusV he wrote. "In stood
when he saw
a field that
two animals that could
Soffici. it.
But
"Alas,
Soffici
was
quantum
looked like a green public square
just as well
have been
steers as cows;
they were being tended, but instead of a shepherd there was a gentle111,111
who
looked like a commedia delVarte character in a scarlet-red
cap. Instead of the strong, age-old oak trees standing out
woods ...
all I
could see was a vegetal black with silvery
place of foliage; this tree looked
Figure
1.
Henri Rousseau. Meadowland, canvas, 1910. Bridgestone Art.
oil
on
Museum
of
Tokyo. Ishibashi Foundation.
114
more
like a haystack
among
the
commas
than like the
in
R*
1
V
BF
3*
-
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'w V
'"'
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•
jMbs
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8
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?^*^^^n^.; ^
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^fe^'^'Sr
^Hl
>: /
X lvu.i)r<u ~-
n
-
-
i
willow
was supposed
it
up
poplars lined
to be;
it
was stuck down in front of a row of the background of the picture
like soldiers across
(quoted in Certigny, 1961,
p.
who had
color in Mention land.
The same
characteristics are
lute cap of the
w
bite
cowherd rhymes, deliberately and
the artist's death. Rousseau's work, with
technique,
is
i'\
-
which n to
it is
is
with the
as early as
The
its
(DV
the mid-i8gos 240), the year of
peculiarly
unchanging
dated to
ca.
1907, partly on
it
own hand (though he was own work), and partly on the
possibly in Rousseau's
be inaccurate in dating his
idence that
1908.
wittily,
inscription on the original stretcher — "Bords de l'Oise,
the basis of an
know
— Soffici's "silvery
notoriously difficult to date, and Shattuck's estimate of
1895 cannot be discounted. Here
1]"
model:
carefully, almost geometrically, ordered.
is
(Shattuck, 1968, no. 25) and as late as ca. 1910
1
its
markings on the flanks and faces of the cows; and the composi-
The Banks of the Oise has been dated
ca.
clarity of
echoed in the patterning of the leaves of the poplars; the
i-
\\
tion
and
found in
the -.(hematic patterning of the leaves of the willow
comm.i-"
."
asked for a version of
187, also overlooked Rousseau's control of detail
)\
.
439).
In his disappointment, Soffici, I
.
was hanging in Rousseau's studio throughout the year
artist
Max Weber, who met and became
friends with
Rousseau in Paris in mid-October 1907 (Leonard, 1970, pp. 15—16),
remembered (
i.dlcrs
.
the.
New
painting
when he saw
it
again at the Paul Rosenberg
York, in late 1948. "In our conversation about Rous-
seau," he wrote to Rosenberg, "I forgot to mention that the painting
and grazing cows by Rousseau which you were so kind
of the poplars to
show
hung
to
my
friend [Marius] de Zayas and
in Rousseau's studio,
#2 rue
(FMA, undated
done no
when
later
since,
Perrel, Paris, throughout the
entire vear 1908 on the wall facing easel"
me some months
him when he was
letter [early 1949]).
than 1907. However,
it
The
remains
seated at his
painting, then,
was
difficult to establish
the earliest date might have been.
Provenance: M. Hue. Toulouse; Paul Rosenberg. Paris, 1912; Alphonse Rann, St. Germain-en-Laye; Paul Rosenberg, New York, 1947; Paul Rosenberg to Maurice Wertheim, by July 1949. Bibliography: Zervos, 1927, pi. 68 (confused with DV 255); Quebec, no. 22, pp. 60-62; Shattuck, 1968, no. 4, p. 80; Raleigh, i960, p. 48, repr. p. 49; Bouret, 1961. no. 142 (confused with
Houston, 1962,
pi. 18,
pp. 46-47;
DV
DV 255);
240, pp. 88, 111, 113; Leonard, 1970,
p. 21; Augusta, 1972A, no. 32. Bequest
Class of 1906, 1951.67
116
Vallier, 1961, no. 111;
— Collection of Maurice Wertheim.
Geraniums was painted in 1915. In the development of Matisse's Alfred
Barr,
II.
has argued, 1915 was a year in which the
Jr.,
art,
artist's
— relatively few in number and marked by a peculiar and uneasy kind of abstraction — were informed by "a sense of serious and painting's
sometimes uncertain experiment" (Barr, 1951, In most respects, this
still life fits
p.
187).
Barr's general description. At
the painting and
least three kinds of floral pattern are represented in
against is
made
to cohere pictoriallv.
The
botanical profusion
spread throughout: in the arabesque patterns of the wallpaper above
Henri Matisse
the table, in the decorative blue and white designs on the ceramic
Le Cateau-Cambresis i86g-Nice 1954
plate,
and in the pot of geraniums
what
28.
odds are
all
Geraniums,
1895
it
is,
lies
itself.
A
fourth bit of
on the surface of the ocher-colored table
patch of blue surrounded by white.
It
it
Oil
red to Prussian blue in the course of
19%
— a solitary
its
its
color altered
descent, or
from
whether
Persian plate.
What
does matter
is
that
we
are persuaded that
it
in.)
Signed in red paint, lower right: Henri
belongs there; that
Matisse
the relations of
we
is,
parts,
its
are persuaded by the
by
its
sheer
artifice,
image
as a
whole, by
by Matisse's manipulation
and control of paint and canvas. Before applying his colors, Matisse
outlined the composition
first
'~"§Mk
\
5 -
N.
1
]
-fiflgg
B
!
I
!
-
V^
V^**^
>
'
x
BS^M*^
1
•
hSr^ If r. I
m
1
hmW £
Ik /
Figure
1
\
A
,
1
Henri Matisse. Vase with Geraniums, crayon 1915. Musee Matisse, Nicej
Cimiez.
is
represents a petal that has unaccountably slipped off the tilted
on canvas, 61 x 50.2 cm.
(24 x
that
hardly matters whether this
patch represents a fallen blossom from the plant,
cadmium
flora, if
(
117
/3P /m
(-v
f^cj^\
h
in black.
The drawing
particularly visible in the snaking tendrils of
is
the patterned wallpaper and in the organic patterning of the plate. Also clearly visible
— inside the elliptical contours of the plate —
off-white ground that Matisse selected to after settling
on. It
is
the
significant that
on the composition he seems not to have deviated from
Nor does he seem did in his
work
is
work
Geraniums, for
to
have changed
his
mind and
altered, as
he
it.
so often
(see cat. 29), his initial distribution of colors. In short, all its
verve and wit, has the look of having materi-
alized almost without effort.
However,
this
from the same year (fig. 1),
appearance of ease as
may
be illusory.
A
drawing
the painting, and of a directly related subject
carries evidence of the uncertainty
referred to by Barr. In the drawing,
and experimentation
which focuses on the structuring
of a Cubist-inflected space, the various stages of Matisse's analysis are
marked by erasures and
revisions. It
paint Geraniums Matisse series of revisions.
The
first
is
likely that in preparing to
took the composition through a similar
taut, curvilinear
forms of the painting, the
heavily repainted ocher tabletop, the fibrillating tendrils that animate
upper register have undergone more twists and turns than can
its
readily be seen in the finished product.
Provenance: Private collection, Paris (said to have been bought directly from artist between 1916 and 1918); Valentine Gallery, New York, to Maurice
the
Wertheim, 1936-1957. Bibliography: p.
New
York, 19366, no. 7; Arts and Decoration. 1937, repr. 17; Frankfurter, 1946, p. 64; Cambridge, 1946, p. 54, repr. p. 55; Quebec,
no. 24. pp. 65—66; Raleigh, i960, p. 24, repr. p. 25; Houston. 1962, pi. 9,
pp. 28—29; Augusta, ig72A, no. 14. Bequest
Wertheim,
1J 9
Class of 1906, 1951.52
— Collection of Maurice
Life with Apples
Still
an austere painting without the decorative
is
Geraniums (1915,
incident that characterizes
the
The
graj
the is
behind the table
\\<ill
seem
.
.
•
% 1
Willi
/ /
9
>' '
the ceramic plate in the earlier
as
sitting
at
still life,
on the plate
constructed by means of a geometry of strong
emphasis
, A ovals uninterrupted
—
on sharp right angles, straight
is
lf(11 + as in the hali-iihed glass 01f water +1
•
,
,
,
mouth rhymes with the circumference
and
lines,
,
whose
„. ellip-
of the plate below.
deployment of color complements the stark forms. Against
predominantly cool grays and dark blues, which were heavily
reworked before the
.
.
is
„
Matisse's
S'//// / it)'
painting
,
tical
toward us
un ingratiatingly hard.
to be
outline--. Matisse's
•
leim Matisse
Ml
plate at the center of the composition, tilted
and unembellished. And the two apples
The
surface of
represented as a single tone of unbroken
is
same precarious angle
plain
The
cat. 28).
final colors
were arrived
at (see
Appendix
C), the
apples are painted in gaudy hues of red and green. In intensity they are almost phosphorescent.
The n
wood panel, 32.9 x 41.1 cm
a
is
composition that seems tense and unstable. These
are qualities that characterize a high
from
()
1
1
number
of Matisse's paintings
which are among the most remarkable
6,
of his career.
On
ned in black paint, lower right: Henri
-
^1
result
.
t g.e :
1
June 1916 he wrote of
his
work
to
Hans Purrmann, who had
purchased Goldfish and Sculpture (1911,
"As
I
you
told
have worked
I
the sketch of which Arts].
I
have
bathing
also
women
is
Museum
a great deal.
The
taken up again a five-meter-wide painting showing
[Bathers by a River, Art Institute of Chicago]. As for
finished. is
which
still life
is
These are the important things in
not a struggle.
.
Still
I
gave to the blind
showing
a
Spanish glass
dipped a branch of ivy, by Alph[onse] Kann.
with oranges which you asked
Although
Art).
on the back [The Window, Detroit Institute of
has been bought by Kelekian, and the canvas ater jug in
Modern
have finished a canvas
I
other events concerning me: the painting which
\\
of
just
." (Barr,
.
.
me to reserve for you is my life. I can't say that it
p. 181).
1951,
Life with Apples
is
the paintings mentioned in the
letter,
struggle referred to by Matisse.
The
small in scale compared with it,
too, reflects
struggle,
it
something of the
would seem, was
to
—
find a
way
to the
hard rectangularity of a table, to the round density of an apple
—while
of lending
still
weight and
owning up
solidity to represented things
to the artificiality of painting's procedures.
In finding a solution to the problem, Matisse sometimes, as in this life,
produced
a strikingly discordant
Provenance: Paul Guillaume,
Paris;
fig.
Maurice Wertheim, 1936-1937. p.
79; Cahiers
59; Paris, 1931, no. 31; Scheiwiller, 1933, pi. 8; Paris, 1935;
Escholier, 1937. p. 60; p.
still
image.
Bibliography: Paris, 1929; George, 1929, pp. 78-79, repr. d'Art, 1931,
New
York, 1943 A; Frankfurter, 1946,
p. 64, repr.
29; Cambridge, 1946, p. 56, repr. p. 57; Quebec, 1949, no. 25, pp. 67-68;
Raleigh, i960,
p. 22, repr. p.
23; Houston, 1962,
1972A, no. 15; Carra, 1982, no. 214. Bequest
Wertheim,
120
.
Class of 1906, 1951.51
pi. 8,
pp. 26—27; Augusta,
— Collection of Maurice
1
*~\
V
>r :li
1TM11
he quartel
I
was
exhibited
firsl
-,-
I
.
lie rctrnv|,c(
from the
L948
in
tive
press, in part lie not
u.it mil.
luding
the large Matisse retrospective organized
at
Museum
the Philadelphia
!i\
1
drawings of Mile. Roudenko, executed in July 1959,
ol
of Art (Philadelphia, 1948, nos.
154-
drew heavy crowds and considerable attention because Matisse himself collaborated in
onh
selected
its
-many of the works for the exhibition
the drawings) but also contributed a long letter and an
all
accompanv ing catalogue.
essa\ to the
Matisse's written contributions, particularly the letter (addressed
[enri Matisse
I
(
.
I
imbresis i86g
i
tn ll<'iir\ Ni
eaders
1
lifford,
(
<il
he
1
how younger
30
Roudenko
Mile.
33.
Ha/lets
Russes), 1959
,
•
Hei
•<l
1
-,
1
i
1
.mil
a
1
Matisse
in
'juill.
x
America would respond
i
iii
-,
1
The
I
essay, entitled
identical to
Her
Leaning on
Left Elbow, L939
ca. L935
\
about the self-portraits
ations that
of a
draw
is
31.5 Cm.
1
.11
ross top: 33;
l8% X
12
3
/s in.
1
graphite, left to ri^ht
Barb; ph
answer potential criticisms with a selected for the exhibi-
I
months
Wertheim
(fig. 1).
Roudenko
after the
quartet,
What Matisse
has to
what he would have
sheets.
me," began Matisse, "to sum up obser-
to
have been making for
ing, characteristics that
many
years on the characteristics
do not depend on the exact copying of
the profound feeling of the artist before the objects
Pen and black ink on white wove paper, X
not Truth," touched on
directly relevant to
hosen.
.
.
.
The
nl
which he has
lour drawings in question are of the
the calligraph) of each one of
(.8
is
(ibid.,
natural forms, nor on the patient assembling of exact details, but on
c
Iiim riptions in
apparent but real—
technique, and style.
in concept,
it
'These drawings seem
\ i/(/c
in the exhibi-
chose to discuss a group of four self-portraits
isse
us understand about the
.
about
an excuse for dispensing
as
From among the drawings
This group, executed only three
59
s,i\
I
as not
"Exactitude
hut attempted to
ase study.
1
Ma1
ion,
t
graphite, lower right:
.
same heme
pei sonal
is
-,
work
to
with the apprenticeship necessary to eventual accomplishment
on white wove papi
8%
dated
letter expressed anxiety
and that they would take Matisse's example
the lil.uk ink
artists in
The
and negligence" in the drawings
iht\
pp.
Pen and
atalogue as curious.
an uneasiness that they would interpret "the apparent
tion, voit inji I.k
(Dancer of the
<
some
curator of the exhibition), must have struck
contour, and of the
them shows
volume expressed.
are not always indicated in the
.
subject, yet
seeming liberty of
a .
same
.
The
same way, are
elements,
still
if
line,
they
always wedded in
— the way in which the nose rooted in the face — the ear screwed into the skull — the lower jaw each drawing with the same feeling
hung. ...
It is
thus evident that the anatomical, organic inexactitude
in these drawings has not
acter
is
harmed the expression
of the intimate char-
and inherent truth of the personality, but on the contrary has
helped to clarify
The
it" (ibid., pp.
55-54).
apologia concludes with the observation that the results have
nothing to do with "chance." In other words
— notwithstanding the
speed at which the line drawings were executed, the shifting and the
summary appearance end it
in
results
was
of facial features, the air of spontaneity
were almost premeditated. Matisse had
his practice to
make numerous
pen and ink (Matisse, 1907-1954,
122
— the
stated in 1959 that
charcoal studies before working pp. 81-82).
The
purpose, so
Figure
l.
*-*''.''
t
Henri Matisse. Four Self-Portrait Drawings, crayon, October 1959. Ex-Collection of Marguerite Duthuit.
H
he
said,
was
to
permit him to establish
h^A)V
â&#x20AC;&#x17E;,
a rapport
then he could proceed with the line drawings.
A
with his model; charcoal study of
Mile. Roudenko, dated June 1959, indicates that this was his procedure
before starting on the
Roudenko drawings (Goode,
Luba Roudenko, who was born was
a dancer
1959, p. 55).
to Russian parents in Bulgaria,
with the Ballets Russes de Monte Carlo.
It is
probable that
Matisse met her during the course of his work on the set and costumes for
in
Leonide Massine's
Monte
Carlo in
through July
at
executed there. after the
May
1
et
Noir,
w hich was r
first
performed
1959 and later in Paris. Matisse stayed in Paris
It is interesting,
though not entirely relevant, that
war Luba Roudenko immigrated a
New York
to the
United
States,
fashion designer (Sheppard, n.d.).
976 the four Roudenko portraits were removed from their
frames for the
123
Rouge
the Hotel Lutetia, so the drawings must have been
where she became In
ballet
first
time since being bought by Wertheim directly
from Matisse
in 1948
4 August 1948). ously
A
fifth
unknown and
of cat. 55. cat. 32.
An
The
(FMA,
letter
from Matisse
to
Wertheim,
drawing, a study of a reclining nude, previ-
unpublished, was discovered attached to the back
extra blank sheet was also found glued to the verso of
other two drawings,
made on
thicker paper, had no
backing sheets. Apparentlv Matisse preferred the heavier support for his line
drawings and therefore attached backing sheets to the thinner
paper to
The
make
it
sturdier.
subject of the recovered
drawing
relates to a series
done
between 1955 and 1937, in which Matisse explored the theme of model reclining
in the studio against a decorative background.
technique of the drawing
— a thin,
in the
Roudenko
Provenance: In the
Bibliography
(all
New
—
is
the same
as that
portraits.
artist's possession until
Pierre Matisse Gallery,
The
flowing, unshaded black line work-
ing against a broad expanse of white paper
employed
a
1948; Matisse, through the
York, to Maurice Wertheim, 1948.
references are to cats. 30—33 only): Philadelphia, 1948,
154-157; Quebec, 1949. nos. 51, 313-3^. pp. 79-80; Mongan, 1958, viii, p. 204; Raleigh, i960, p. 64, repr. p. 65; Houston, 1962, pis. 23—26,
nos. pi.
pp. 58-59; Sheppard, n.d.; Augusta, 1972A. nos. 16-19. Bequest
— Collection
Maurice Wertheim, Class of 1906, 1951.72, 1951. 73A, 1951. 75B {Nude Leaning on Her Left Elbow), 1951.74, 195 1.75
of
125
unclear in this painting what kind of container holds the assorted
is
It
oranges, apples, grapes, and a baskel or a porcelain
bowl.
depicted by Bonnard.
figs
It is also
It
could be
unclear what the four rectan-
gular forms running along the top edge of the composition represent.
Other paintings (
ould
Level,
gs, .mil
can the painting be clearly categorized either as a
an "interior."
life" or as
<l
olors
space
/
/•/•
/
'
Still
make
so.
ii
•/
dfe of bruit.
1.923
On nited
1
framing edge)
"still
fruit, spoon,
unquestionably the
is
foreground placement and high-keyed
Lbwever, the painting also hints at a deep interior
I
just
Through the dark-blue
distinguish the back of a seated figure (the head
the right in profile) and another table or bureau
surmounted
green vase.
a
liv
to
its
arrangement of
lung behind the white tabletop.
strcti
turned
still-life
plate (cropped by the
gloom, one can
1 1 I /('/'/< >f If////
The
focus of the composition; <
"i").
be a row of pictures within the picture. Nor, on a
ju-t as easily
broader
Pierre lioiinai
Bonnard would suggest they are windows, but they
l>\
the occasion of Bonnard's
one-man exhibition
first
New York
the Bignou Gallery in
St. ites. at
in 1947,
in the
Clement
Greenberg ommented on Bonnard's high renown "among those who 1
Oil
L2Cx65Cm
tS
ned
in
Bonnard
1
pent, bottom right:
r
iiidtess to
ber& "'I
] Tl .mil like
know
,
-
reputation in America principally to is.
work
to
in
s
seems
to
his
medium.
have led Bonnard
to paint
"It
is
attention
is
"on
the collection.
more and more
abstractly; the
less
becomes the
(ibid.).
He
Still
Art,
them
and incidental
air.
Life of Fruit was Wertheim' s
last
acquired
critically successful
it
a casual
in
March
The
Bonnard retrospective
New York (New
The Wertheim
spective, but
it
purchase for
1950, two years after the large
York, 1948A).
at
The
The Museum
of
exhibition included
twenty-two works from the 1920s, the majority of them interiors.
and matter,
juice
concentrated on texture and color, while the objects
Interior with
Modern
— that
canvas, executed in 1925, conforms to this description.
represented have about
and
his rising
precisely this con-
concern with the original idea of the subject in nature"
The
//->
(Green-
since 1915
greater the attention to pigment and brushstroke the
Wertheim
))
in the earlier paintings,
entration on his stuff," continued Greenberg,
tli.it
sheer sake
work produced
which the emphasis, more than
w as on the culinary pleasures of 1
1
1
)
Greenberg observed that Bonnard owed
53)-
P-
•
painting £tor painting
still lifes
and
painting was not included in the retro-
was shown
in 1946 in Paris at a special exhibition of
works that had been seized by the Nazis during the Occupation and returned to the original owners following the war (Paris, 1946, no. 51).
Provenance: Bonnard
to
Bernheim-Jeune,
Paris, 1925;
Henri Canonne;
Paul Rosenberg, Paris, by 1939; seized by tbe Nazis during the Occupation, recovered at the Liberation; Paul Rosenberg, New York, to Maurice
Wertheim, March 1950. Bibliography: Amsterdam, 1959, no. 10; Paris, 1946, no. 51; Raleigh, i960, Houston, 1962, p. 11; Augusta, 1972A, no. Dauberville,
p. 4, repr. p. 5;
1973,
III, no.
i95 l6 9
126
1203. Bequest
1
;
— Collection of Maurice Wertheim, Class of 1906,
&^>»«/v
.
The most
perceptive published account of Race Track at Deauville, the
Wight, appeared
Start, written by Frederick S.
for the
first
Museum tense ib.it il.i\
exhibition of the
Wertheim
1946 'Cambridge, 1946,
in
I)ul\. for
"show man
in paint"
ence went and
and
his ability
.ill
to paint
still
skill as a
â&#x20AC;&#x201D;a showman
what
Fogg Art
collection at the
Writing in the present
p. 62).
1946 Dufy was alive and
for in
catalogue entry
as a
work),
at
Wight contended
was
painter,
modern-
like a
content to go where his audi-
audience liked. Moreover, Wight
his
charged that Dufy had failed to escape the leisured tastes of his
Raoul I'll
I)uf\
audience and instead had catered to them. Wight's entry
B77 Fori alquier 1953
worth
is
reprinting here:
The race course has long fascinated Dufy. His material
Race Truck
36.
heir: the crowd, the general activity, the animated subject matter
at
to
Deauville, the Start, i9->(
go with
the
animated
color.
The scene
X32V.
,
\
planes of the wings. Over this abstract
used
design,
broad and horizontal, flows a perpendicular arabesque of
I lis
i
ed and dated i-ni
i
1
1
-
> ".
Dul v
Hi .5 cm.
1 1
1
1
composed of colored
itself is
to establish the
notations so close to handwriting that ",
is
planes which create the space of the theatre, where colored light
)
Oil on canvas, 65
p. nut. low er
touch
is
is
light, his color
of cloth. As
transparent
.
.
of color. The figures
exist
across them .... [Dufy]
Dufy
is
go and
The
who
is
Eugene Boudin. The Races ville,
at
Deau-
graphite and watercolor, 1866.
Mr. and Mrs. Paul Mellon, Upperville. Virginia.
128
decorating a piece
into zones
political
the
insists that
it
man who
puts on
never rains. It
He goes
whatever most people
-MMsfc*i
it
shading which had swept
is
t/ie
show, manipulates
really very simple:
where most people want
like (ibid.
to
).
Deauville track, which Dufy frequently visited, was con-
l
.
aware of the
and divided
structed as a financial speculation in 1864 by the
1
is
is
under one zone or another as though
a showman in paint.
likes
.
he frequently makes use of a flag. Often
were a climatic change or a
the scenery,
and he
.
â&#x20AC;&#x201D; possibly conscious that he
in this picture
.
mundane and romantic.
a decorative painter at once
patterns of textiles
Dufj 1929
positively journalistic.
it is
the whole canvas has been treated as a flag
Fig are
is all
Due de Morny
^f * 4
-v-
'"
'*' '
f
;
-
-
I
'l?fc.«.
"
P «|j
/
*
J AM
()
#
„.
\\
ashington,
1
985,
qui( kl\ attra< ting
them, lig.
artists.
1),
t
p.
lie
In 1866
time
it
became
a
huge
success,
wealthy of France and England and, following
Eugene Boudin painted The Races
a sheet of sketches representing elegantly
.nid glistening horses. i^
142). In a short
at Deauville
turned-out spectators
Boudin's emphasis, like Dufy's sixty years
later,
mi the festive side of the occasion, the sparkling day (during which
"it
never rains"
I,
and
its
decorative aspect. Between 1925 and 1956
Duf) returned time and again to the theme of the race track. At least thirteen of his canvases take the
hippodrome
at
Deauville as a subject,
seven from the vantage point represented in the (Laffaille,
Wertheim painting
1972-1976, nos. 1287-1295).
Provenance: Pierre Matisse Gallery,
New
York, to Maurice Wertheim, 1938.
Bibliography: Berr de Turique, 1950, p. 110; New York. 1940 A; Frankp. (i.i; Cambridge, 1946, p. 62, repr. p. 63; Quebec, 1949, no. 26,
furter. 1946.
pp.
69-70; Canaday, 1959, pp. 408-409, repr.
p.
409; Raleigh, i960,
repr. p. 15; Houston. 1962, pi. 3, pp. 16-17; Augusta,
1972-1976, no. 1293. Bequest 1906, 1951.48
130
1972A, no. g;
p. 12,
Laffaille,
â&#x20AC;&#x201D; Collection of Maurice Wertheim, Class of
"No animal
is
closer to a
book on Degas, "than 1958, pp. 69-70).
It
dominant
as
They were
also
a perfectly
balanced thoroughbred" (Valery,
has often been remarked that the two themes
racehorse and dancer
were
premiere danseuse, wrote Paul Valery in his
— were closely associated in Degas's mind. They
in his sculpture as in his
drawing and painting.
given a prominent place in his poetry and seemed to
overlap in significance; one sonnet in a series of eight devoted principally to dancers
dancers,
1854-1917
and racehorses account
Horse Trotting, the Feet Not Touching the Ground,
also offered
known
sculptures represent
high proportion of the remainder.
that Horse Trotting and
— that
is,
Grande Arabesque were modeled during the
photographs of the phases of
base: 49/B
sequence of a horse
in 1881, shows the horse airborne with
much
the same attitude as that used by
Degas in the Wertheim sculpture (Rewald, 1944, convincing illusionism of the sculpture
depends for sculptural
Its real
is
p. 22).
But the
only partially dependent on
sense of thrust and
movement
must, on Degas's attention to the
effect, as it
massing of volumes and the interaction of
Stamped, proper right rear of top of
a
and
solids
voids.
base:
Neither Degas's original
cire/perdue/aahebrard
plasticene
model
for
wax model
for
Horse Trotting nor
Grande Arabesque (both
own
cast in Degas's
lifetime (Millard, 1976, pp. 27-39). Indeed, with the single
exception of Little Dancer, Fourteen Years Old, which was
Grande Arabesque, Third Time,
exhibited or
cast.
sculptures in various stages of disintegration and preservation
were discovered
as
Degas Numbered, proper
in his atelier (Rewald, 1944, p. 14).
no exact records were kept
(Failing, 1979, pp.
Of
these, seventy-
— or perhaps more, 58-41)
— by the Paris
foundry of A. A. Hebrard. Each sculpture was assigned a number
from rear of top of base:
at
After Degas's death in 1917, about one hundred and
three were cast in bronze in sets of twenty-three Bronze, 40.2 x 55.4 cm. (15V8 x 2i 3/4 in.) Signed, proper right side of top of base:
shown
the Impressionist exhibition of 1881, none of the sculpture was
fifty
ca. 1885-1890
his
in the collection of
Mr. and Mrs. Paul Mellon since 1955) was exhibited or
58.
serial
and gallop
in a horse's trot
One frame from
Le Globe
Muybridge's photograph. right rear of top of
movement
four feet off the ground in
all
it.
It is likely
Degas had seen Eadweard Muybridge's
after
trotting, published in
Bronze, 22.9 x 27.2 cm. (9 x 10% in.) Signed, proper left front of top of base:
Degas saw
life as
Degas's sculptures are difficult to date with precision.
1880s
(Reff,
the possibility of dealing with figures in motion.
(Millard, 1976, pp. 21-25).
ca. 1881-1890
Degas Numbered, proper
for a
"Thoroughbred"
These subjects figured in the spectacle of modern
They
57.
entitled
is
1978). Approximately half of Degas's
Edgar Degas Paris
and the dance
1
to 75,
and each
assigned a letter from
cast of the
A to T
twenty
sets
intended for sale was
(Millard, 1976, pp. 32-53).
16/D
Stamped, proper rear of top of base:
Provenance
cire/perbue/a a hebrard (38):
Maurice Wertheim, by 1944. Justin Thannhauser, New York, to Maurice Wertheim, April 1945. (37):
Bibliography: Rewald, 1944, nos. XI and XL; Rewald, 1944, Art News, pp. 21—22, repr. p. 22 [no. 38]; Frankfurter, 1946, p. 64, repr. p. 30 [no. 37]; Cambridge. 1946, p. 70, repr. p. 71; Rewald, 1957, pp. 142, 149, figs. 13, 20-21; Raleigh, i960,
p. 70, reprs. p.
71; Houston, 1962,
Beaulieu, 1969, pp. 374-375; Augusta, 1972A, nos.
pi.
29, pp. 64-65;
5, 6; Dallas,
1974,
12 [no. 38]; Coolidge, 1975, repr. p. 5 [no. 38]; Millard, 1976, pp. 23—24, 99-100, figs. 62, 91; London, 1976, nos. 5, 8. Bequest Collection of
fig.
—
Maurice Wertheim, Class of 1906, 1951.79 and 1951.78
— "The
portrait
and the statue
are, for
me, completely opposite things,"
make
Maillol stated (Cladel, 1957, p. 152). "I don't
somewhat misleadingly
continued,
u Im h
when The
it."
individual.
a particular
On
that asserts
it,
features of the head are without idiosyncrasy
them suggests
in
A head interests me In Head of a Woman it
the architectural unity, as Maillol would have
is
make heads
(see cat. 40), "I
can bring the architecture out in
I
he
an impression of the whole.
try to give
I
portraits,"
itself.
— nothing about
the contrary, the face
is
generalized and symmetrical, while the hair and kerchief are modeled
iristide Maillol Mei i^n-1944
Ban
examples of Greco-Roman sculpture. In short, the sculpture
after
manifestation of early twentieth-century classicism. Moreover,
intended to be seen
39.
Head of a Woman,
with the 1
ca.
l
898-1905
lenis,
(
\\
«
it li
painted patina
<>t
red,
brown, and purple washes, 52.9 1
5 \
id'/j in.)
x
26.7 cm.
\\
hd was
a
spokesman
was associated in the 1890s
renewed
for a
2
on Maillol (see Slatkin, 1982, pp. casts of this sculpture are in
classicism in
—
contemporary
ertheim
cast,
which
is
5).
the Phillips Collection,
ashington, D.C., the Los Angeles County
public and private collections.
W
was
around Gauguin and the Nabis, in particular, Maurice
ircle
Bronze .
a
Not coincidentally, Denis was the author in 1905 of an important
art.
artii le
Plastei
as such, for Maillol
it
is
Museum
of Art,
However, the relationship
in plaster painted
plaster
of the
with red, brown, and
purple washes in imitation of bronze, to the bronze casts
The
and other
unclear.
is
seems too clean to have served in the foundry
as a
master
model (though the simulated patina hides much of the evidence that would he needed
determine this with certainty). Instead, the highly
to
the plaster was
visible cast lines indicate that
mold
or, alternatively,
likely as the
plasters
a previous
from
The
latter
seems most
model.
a piece
dates for
gelatin molds.
Head of a Woman have been
Waldemar George dated
it
However, neither author
offered. Therefore, until
proposed. In 1964
1905 (George, 1964,
to
and in 1975 Linda Konheim dated no. 22).
either
back of the cast shows bubbling, which often occurs on
made from
Two
from
made
it
to
p.
148, pi. 150),
1898 (New York, 1975,
cited firm evidence for the date
more evidence
is
produced,
it
seems appro-
priate to date this cast to 1898-1905.
The W.ertheim
version was almost certainly in the collection of
A. Conger Goodyear before 1929, the year he
dent of
Bv
The Museum
of
that time, Goodyear
Modern
owned
Art,
became the
New York
first presi-
(Lynes, 1973,
p. 10).
a sizable collection of sculptures
by
Maillol and Emile-Antoine Bourdelle, as well as a strong collection of
Impressionist paintings. Gabrielle in a
Poemes Barbares by Gauguin
Red Dress by Renoir
(cat. 10),
(cat.
20) and
both owned by Goodyear,
were subsequently bought by Wertheim. Provenance:
New
A.
Conger Goodyear,
York, Parke-Bernet, 11
Bibliography: Denis, 1925,
May pi.
New
York; Maurice Wertheim
1944, no. 75).
26;
New
York, ig44A, no. 75; Buffalo.
1945, pp. 85, 105; Frankfurter, 1946, p. 64; Cambridge, 1946, p.
75; George, 1964,
Collection of Maurice
pi.
150, p. 54;
Wertheim,
(sale,
New
p. 74, repr.
York, 1975, no. 22. Bequest
Class of hgo6, 1951.81
of Renoir
Maillol's Bust
artist. It is also
among
is
his
among
the few portraits executed by the
few psychologically penetrating works.
Renoir had been stricken by rheumatoid 1
arthritis in 1888,
and
after
902 his health deteriorated seriously. Maillol represents Renoir with-
out making anv attempt to
mend
the sagging features of his subject's
once-paralyzed face and without straightening his bent shoulders and
ema< iated neck. Rather, he built and structured the bust around Renoir's skeletal cheekbones and jutting nose and gave to the surface 11I
Vristido Maillol Ban)
the sculpture a
evokes the broken physiognomy of Renoir in 1906.
Mer 1*111-1944
uli iui
worked cragginess. The finished bronze persuasively
Maillol found the sculpture difficult to execute.
biographer, Henri Frere, that |.o.
lUist
of Renoir,
1906
oi trouble.
lips,
Bronze, 41
x
28.2 cm,
(
i6'/Âť
x
1
number Signed with monogram, proper \..
(it
1
was an impossible
It
There was nothing ,iikI
in.)
i'/a
it
saw him,
h was nw
I
in
it;
ful.
I
his
had given him "a tremendous amount face. It
was
sick
all
there was only the nose.
was perplexed.
He informed
and deformed.
When
He had no mouth, he had
I
got there
drooping
had seen an old portrait and thought he had
beard. But he had shaved off his beard. Oh, did
I
a fine
have trouble!"
.ist
base:
M
in o\
left side
(Frere, 1956, p. 258).
We cannot doubt that Maillol experienced difficulty making the
.il
bust, for
it
stands in sharp contrast to the
known â&#x20AC;&#x201D; his 4,1).
The
classical
work
1.
Pierre-Auguste Renoir. Portrait of
Ambroise
T'ollard, oil
on canvas. 1908.
Courtauld Institute Galleries, London.
Samuel Courtauld
Collection.
Catalogue of the Sculptures
136
which he
heads and monumental torsos (see
reason he undertook the portrait,
it
had been commissioned by Ambroise Vollard,
Figure
for
cats.
is
best
59 and
seems, was because
it
Maillol's dealer as well
as
one of Renoir's dealers
onrj a short while later Vollard arranged to
painted by Renoir (1908,
he
i
worth observing that
(ibid., p. 237). It is
fig. 1),
and that in
have
his
own
portrait
commissioned work
this
hose to have himself pictured contemplating a small statue by the Crouching
Maillol
Woman
of 1900).
By
this pictorial conceit,
Vollard ii^oi iated himself with both artists, while at the
same time
associating the artists with each other. In fact, Vollard's association of
Renoir and Maillol was not forced, for the
monumental
aesthetic preference for classically
Renoir hegan
were indebted I
bust
In'
to
example of
to the
was modeled lias
Maillol.
at Renoir's
house
at Essoyes in
Burgundy.
been some difference of opinion about
whether Maillol executed
it
in 1906, 1907, or 1908. Georges Riviere
hook on Renoir states that the bust was completed in 1908
Riviere, 1921, pp. 247-248), while
Rewald, 1959,
1907
art.
share a
undertake large sculptural projects in 1913, his results
Over the years there
in his
common Moreover, when
artists did
p. 167).
John Rewald gives the date
However,
it
as
was surely done in 1906.
Barbara Ehrlich White has recently found in a letter from Renoir to Vollard, dated 12 sculpture:
w
as
too p.
"My
September of that year,
bust
is
this curt reference to the
going splendidly" (White, 1984,
p. 235).
This
presumalil\ written just before the sculpture collapsed because of
much
moisture in the clay (Maillol's explanation; Frere, 1956,
237) or because of a faulty armature (Jean Renoir's explanation;
Renoir, 1962, set to
p. 323).
Both observers
work remodeling the
state that Maillol
portrait to the
form in which
Casts of the bust are in the collections of several
museums, including the Art
Museum
of Art,
New
Institute of Chicago,
York, and
immediately
The Museum
of
it
now
exists.
American
The Metropolitan
Modern
Art,
New
York.
Provenance: Maurice YVertheim, by 1939. Bibliography: Riviere, 1921, pp. 247-248; Rewald, 1939, pi. 146, p. 167; New York. 1941 A, no. 89; Frankfurter, 1946, p. 64; Cambridge, 1946.
p. 72, repr. p.
16,
73; Frere, 1956, pp. 78, 237-238; Raleigh, i960, p. 72,
68-69; Renoir, 1962, p. 323; George, Augusta, no. 12; Coolidge, 1975, repr. p. 5; 1972A, 1964, 147, p. 223; New York, 1975, no. 60, p. 151; Slatkin, 1982, pp. 41, 91; White, 1984, repr. p. 73; Houston, 1962. pi, 32, pp. pi.
p.
235; London. 1985,
Class of 1906, 1951.80
138
p.
275. Bequest
â&#x20AC;&#x201D; Collection of Maurice Wertheim,
Maillol's attention for fifteen years. It therefore
surprise to learn that the pose of this canonical
even further back in Maillol's work
There
a precise correspondence
is
comes
as
no great
nude figure
is
traceable
to the 1890s (Slatkin, 1982, p. 89).
between the pose in the He de
France and the pose of a nude bather in a Maillol painting dating
from 1896-1897 {Two Bathers, Petit Slatkin, 1982, no. 17). In both
same
arrested posture
Palais, Paris; illustrated in
works the figure
is
represented in the
— the heel of the back foot raised, the shoulders
arched, the head erect, the arms extended behind the body. According to
Wendy
Slatkin, the repertoire of forms
monumental
employed by Maillol in
sculptures of the 1910s, 1920s, and 1950s rests mainly on
the paintings and tapestries he produced before 1905 90).
Using
a
working in
his
(ibid., pp.
87-
vocabulary of figure types that he had invented while
close contact
remainder of
with the Nabis, he continued during the
his life to refine their subtle geometries.
The geometries
works are characterized by simplified,
of the large
rounded forms. Their smoothly modeled surfaces catch and hold the flow of light
— as shown in the photograph of the lie de France
installed in the front hall of Street,
New York
Wertheim's townhouse, 45 East 70th
This cast (no.
(fig. 1).
3),
according to Wertheim's
scrapbook, had never been exhibited before he acquired
However, he had been searching In 1948,
when he
for a cast for
it
some time
in 1949.
previouslv.
learned that an American private collector had
found and acquired one in Europe through the dealer Curt Valentin,
he persuaded the porarily
dence,
collector to let
him
install it in his
townhouse tem-
— and then made a strenuous bid to purchase
FMA). Wertheim's
he acquired the
cast
now
offer
was declined, but
it
(correspon-
a short while later
in the Fogg.
Provenance: Maurice Wertheim, by 1949. Bibliography: Dreyfus, 1926-1927,
51, pp. 114-115; Rewald, 1959, pp. 66-67; Payro, 1942. p. 37; Buffalo, 1945. pp. 80—81; Bouvier, 1945, pp. 67, 124-125; New York. 1950, no. 1; Camo, 1950, pp. 54— 55, 68, 82;
Linnenkamp, 1957,
p.
85; Cladel, 1937.
pi.
no. 15; Raleigh, i960, p. 74, repr. p. 75;
George. 1964. pp. 40. 48, 57, 223-224; Slatkin. 1982, pp. 80, 89. Bequest Collection of Maurice
141
Wertheim,
Class of 1906, 1951.82
Despiau worked for Rodin ever, he
best
is
known and understood
The
portrait busts.
from 1907
as a stone carver
How-
to 1914.
modeler, especially of
as a
bust of Suzanne de Waroquier, wife of the Parisian
painter and sculptor Henri de Waroquier, forms part of a sequence of portraits thai
1
)espiau executed of artists
those he represented are
Mine. Otlion
Friesz,
discreet (
Despiau
lharles
VIont de M.irs.ui
- -
i
l'.m~
y
1
1)
marked
and Dunoyer de Segonzac
portrait to the next are subtle
original plaster of the Portrait
Muderne,
ofMme.
Portrait
aroquier,
II
1927
The Museum
row ninshield, 1945),
(
\\
ertheim bronze I
to the
)espiau's
is
is
of
Modern
now
in a
Art,
- \
27
-,
efl
\n
tnbered, propel
1
1
1
h
1
<
-,*/»
1
C
rear left
efl
signature:
tn
1
1
eai
si
10%
in.)
w
forms touch
l>\
Seated Man, Statue for a Monument to Mayrisch,
— in the head of Mme.
life-size,
Waroquier,
Mayrisch. The
to
as well as in
latter
his
Seated
work, which
is
represents an intermediate step in the development
The
figure was commissioned shortly after the death of the
Luxembourg
Emile Mayrisch (1862-1928) and
at
is
large seated
installed in his
tomb
Colpach, designed by Auguste Perret. Despiau began the project in
1929 with a series of drawings from the nude model 1974, nos.
(fig.
16—1 18). Following these, he undertook the
1
1
;
Paris,
Wertheim
version of the sculpture in order to determine the figure's exact pose
and proportions.
ca. 1950
roughened surfaces of
of a larger-than-life-size statue of the identical subject.
industrialist (.3.
The
touch with minute accretions of clay. This slow,
Man, Statue for a Monument than
private collection.
technique, he built up his
finished works
less
Frank
modeling procedure was painstaking and deliberate.
additive process can be read in the delicately
perdue
(gift of
no. 2 of the six casts.
2/6
1
d' Art
formerly in the
New York
)espiau
beneath
rear,
\\i
x
Musee National
New York
In contrasl to Rodin's broad, aggressive jg
and
of Mme. Henri de Waroquier
Paris. Cast no. 5 of the edition of bronzes,
collection of
Henri de
The
as to threaten classical unities of structure.
was given in 1961 by Mme. Despiau i_>.
(Paris, 1974).
Derain,
— sufficient to distinguish traits of personality but not so
The
(.')
Mme. Line Aman-Jean, Mme. Andre
from one
differences in detail
Among
and their wives.
for
It
was presumably completed by the following year,
Leon Deshairs reported seeing the commissioned sculpture
in
progress in Despiau's studio in 1950 (Deshairs, 1930, pp. 71-72). Bronze, 76.8 x 53.9 cm. (30% x Signed, proper I
n. ised,
proper
left rear: C. left
21%
The
final
work, classicizing in
its
reticence and
its
powerful symmetry,
in.)
Despiau
rear of top of base:
was completed in 1952 Provenance
(Fierens, 1935, pp. 10—12).
(42 and 43): Maurice
Wertheim, by 1939.
original
Stamped, proper right
VALSUANl/PERDUE
rear:
CiRE/c.
Bibliography (ill.),
(42): Creative Art, 1928, pp.
16, 44; Deshairs, p. 82; Jewell, 1944,
XLI-XLII; Rindge, 1930, pi.
pp. 14
163; Frankfurter, 1946,
p.
64;
Cambridge, 1946, p. 76, repr. p. 77; Adlow, 1946A; Raleigh, i960, p. 76, repr. p. 77; Houston, 1962, pi. 31, pp. 66-67; Augusta, 1972A, no. 8; Paris, 1974, no. 58. Bequest
— Collection of Maurice Wertheim, Class of 1906,
i95 l8 3
Bibliography
(43): Martinie, 1929, p. 388; Deshairs, 1930, pp.
71-72;
Fierens, 1933, pp. 10-12; Alazard, 1939, pp. 113-114; Frankfurter, 1946, p.
64; Raleigh, i960,
1972 A, no.
1951.84
142
7.
p. 78, repr. p.
Bequest
79; Houston, 1962, p. 66; Augusta,
— Collection of Maurice Wertheim, Class of 1906,
Figure
1
Charles Despiau. Study for
ment
to
"A Monu-
Mayrisch" pen and
<w.V- 3V
&
*J~
ink, 1929.
Musee Despiau-Wlerick, Mont-de-
A.
Marsan.
1
i
.
H5
it
1
x
x
li. IK. 1\.
-
Appendix A
Chronology of Acquisitions by Maurice Wertheim
May 1936 I5\
l)>'<
ember 193^
1936-1937 93 s- » 937
Picasso,
The Blind Man, 1903
Picasso,
Young Girl Wearing
Woman
with a Chignon (verso), 1901 (cats. 22
(cat.
a
25)
Large Hat
(recto),
Matisse,
(cat.
29)
Picasso,
Mother and Daughter, 1904
(cat.
26)
Bj l.imi, us 1937
Picasso,
Mother and
\pril
1937
Gauguin, Poernes Barbares, 1896
\pril
1937
Seurat,
B)
'937
23)
Matisse, Geraniums, 1915 (cat. 28)
Life with Apples, 1916
«
&
Still
Woman
Child, 1901 (cat. 24) (cat.
20)
Seated by an Easel, ca. 1884-1888 (cat. 14)
N01 ember 1957
Toulouse-Lautrec, The Black Countess, 1881
>938
Dufy, Race Track
By 1939
Cezanne,
B Y '939
Despiau, Portrait of Mme. Henri de Waroquier, 1927
Bj
Despiau, Seated
1959
Still
at Deauville, the Start,
Life with
Man,
Commode,
Statue for a
of Renoir, 1906
ca.
(cat. 15)
1929
1885
(cat.
36)
(cat. 17)
Monument
to
(cat.
Mayrisch,
By 1939
Maillol, Bust
June 1939
Van Gogh,
March 1940
Seurat, Vase of Flowers, ca. 1879-1881 (cat. 12)
1942
Degas, The Rehearsal,
By 1943
Pissarro,
June 1943
Monet, Red Boats, Argenteuil, 1875
October 1943
Van Gogh, Three Pairs of Shoes, 1886-1887
December 1943
Benoir, Gabrielle in a
By 1944
Degas, Horse Trotting, the Feet Not Touching the Ground, (cat.
April 1944
May
1944
(cat.
42) (cat.
43)
40)
Self-Portrait Dedicated to Paul Gauguin, 1888 (cat. 19)
Mardi Gras
ca.
1873-1878
(cat. 2)
on the Boulevards, 1897
Red
(cat.
21)
(cat. 4) ( cat
-
l8 )
Dress, 1908 (cat. 10)
1881 — 1890
ca.
37)
Seurat, Seated Figures, Study for
Grande
Jatte,"
Maillol,
Head of a Woman,
1884-1885
"A
Sunday Afternoon on
the Island
ca.
1898-1905
(cat.
39)
Degas, Grande Arabesque, Third Time,
June 1945
Monet, The Gare Saint-Lazare; Arrival of a Train, 1877
January 1946
Toulouse-Lautrec, The Hangover or The Drinker, 1887—1889
By June 1946
Guys,
November 1946
Benoir, Seated Bather,
December 1946
Benoir, Self-Portrait at Thirty-Five, 1876
March 1947
Benoir,
A Lady of Fashion,
(cat. 9)
ca.
of the
(cat. 13)
April 1945
146
1930
ca.
ca.
i860
ca.
1885—1890
(cat.
38)
(cat. 5) (cat. 16)
(cat. 1)
1883—1884
Two Nude Women, Study for
(cat. 8)
the
(cat. 7)
"Large Bathers,"
ca.
1886-1887
1948
Matisse, Mile.
1948
Matisse,
May
1949
Roudenko [Dancer of the
Nude Leaning
on
Her Left Elbow,
Degas, Singer with a Glove,
ca.
1878
By July 1949
Manet, Skating, 1877
By July 1949
Rousseau, The Banks of the Oise,
%
Maillol,
x
949
ca.
March 1950
Bonnard, Interior with
1955*
Monet,
1935-1939
147
(cats.
(cat.
30-33)
34)
(cat. 3)
Still
(cat.
ca.
1907
(cat.
41)
Life of Fruit, 1923
Paul, 1882
27)
(cat.
35)
(cat. 6)
*Acquired for the collection after Wertheim's death, Cecile
1939
(cat. 11)
He de France, 1925
Madame
Ballets Russes),
Wertheim, through the Wertheim Fund,
Inc.
at
the suggestion of
Appendix B Exhibitions of the
Maurice Wertheim
bridge
1
1946
/'/
Collection,
inch Painting Since i8jo: Lent by Maurice Wertheim, Class of iyo6.
Cambridge, Mass.: Fogg Art Museum, June i-September
La
Quebec, 1949
1 946-1 983
Peinture francaise depuis 18 jo. Quebec:
Musee de
la
7,
1946.*
Province de Quebec,
July 12-August 7, 1949.*
\ru York,
The
i'.
II
ertheim Collection of Paintings.
i-September
Ait. July
\rt.
June
1
5-September
The Maurice
II
[ouston,
The
l()t>J
!()<'",
iyth-
ertheim Collection. Minneapolis, Minn.: Minneapolis Institute
ice
Wertheim
Collection:
of
l'm\
idt'iicc,
1968
Museum
and 20th-century Masters from
Museum
The Maurice Wertheim Art,
Modern French of Art,
Wertheim Collection: Manet Fine Arts. June 1 3-September
Baltimore: Baltimore
Manchester, 1965
of
15, 1957.
Mam ice
Museum Baltimore.
Museum
June 11— August 31, 1958.
Main
77/i'
Collection. Philadelphia: Philadelphia
Raleigh, N.C.: North Carolina
I
June 5-September
The Wertheim
of Art,
Collection. 4,
the
to
2,
Art,
Monet
to Picasso.
June 17—September
Picasso. Houston:
4,
i960.*
Houston
1962.*
Maurice Wertheim
June 20—September
1,
Collection.
1963.
Manchester, N.H.: Currier Gallery of
1965.
Collection. Providence, R.I.:
Rhode
Island School of Design,
June— September, 1968.
Montgomery
.
1971
The Maurice Wertheim Collection of Impressionist and Post-Impressionist Paintings and Drawings. Montgomery, Ala.: Montgomery Museum of Fine Arts, June 20—September
Augusta, 1972
The Maurice Wertheim June
New
York, 1985
of
July i-September 13, 1953.
of Arts,
Raleigh, i960
Museum
14, 1952.
The Maurice Wertheim Art.
Minneapolis, 1958
York: Metropolitan
Maurice Wertheim Collection. Washington, D.C.: National Gallery of
'953
Philadelphia, 1957
New
1
Manet
5,
1971.
Collection.
Augusta, Me.: Maine State
1- September 4, 1972.* to
Matisse: The Maurice Wertheim Collection.
Gallery of Science and Art, April
9-May
Exhibitions accompanied by a catalogue.
148
Museum,
25, 1985.
New
York:
IBM
Appendix C Technical Information
on the Collection
Paintings: Teri Hensick, Kate Olivier (with contributions by Sandy
Easterbrook and Carolyn Tomkiewicz)
Drawings: Marjorie
Cohn, Pia de Santis
B.
1.
The drawing was executed on
warm
Guys
Materials/ Techniques:
A Lady of Fashion,
wove paper. Guys first lines of graphite. Pen and ink were then used to delineate the image and washes used to define the shallow space in which the woman poses and to add volume to her billowy hoop skirt. The edges of the washes are easily
ca.
i860
a
placed the figure on the page with a
white
few summary
discernible and exist as curving lines of particulate matter, indicating that
the coloring material was not evenly incorporated in
its
dilutant.
These
Guys used very dilute washes. In some areas the fibers were roughed up during the drawing's execution; color particles cling to the factors suggest that
roughened
On
surfaces, creating dark spots in otherwise light-toned areas.
the verso, there are areas of brown discoloration corresponding to those design elements executed in iron gall ink. This acidic ink first
made but
Condition:
A
turns
is
black
when
brown over time.
layer of adhesive on the verso indicates that the drawing was
previously mounted. There are deep creases along the right edge of the
drawing. At some point
it
was cut horizontally on the right edge near the
lower corner. 2.
Degas
Materials/Techniques: The support
The Rehearsal,
count: 20 threads per cm.).
ca.
1873-1878
is
The ground
a fine, plain is
weave canvas (thread
off-white in color.
The
edges of the
painting are covered with brown paper tape, hardly visible because
been incorporated into the painting and
is
it
has
covered with original paint.
The
tape must have been part of Degas's original mounting system, perhaps on a
drawing board. X-rays show suggesting that larger stretcher.
mounted
it
to a
when
stretch scalloping only along the
bottom edge,
the ground was applied the canvas was supported on a
Degas must have cut the canvas from
this larger
format and
temporary support using tape. X-rays reveal that the overall
composition was well worked out before painting began. Infrared examination,
however, shows several pentimenti in the figures themselves. The
position of the violinist's right leg
was originally farther forward. The
planted feet of the central ballerina and the second ballerina from the
have been
by
shifted.
The
central ballerina has been reworked, as
a second 5-by-5-cm. grid pattern visible only
is
left
evidenced
with infrared. Finally, an
indiscernible pentimento, possibly a figure, can be seen below and to the right of the central ballerina.
Condition: In 1976 a discolored natural resin varnish was removed and the painting revarnished. At a previous time the painting was lined (with glue/paste) and
its
tacking margins trimmed. The Rehearsal
good condition, with very
Âť49
little
inpainting.
is
in verv
5-
Materials/ Techniques: This mixed-media work was executed on primed
l)ÂŤ'Âť;is -/
with
(i
d love,
canvas.
Pigment
the red and green stripes appearing at the ca
1878
were used
analysis indicates that pastels
have been executed in dry pigments ground in of their
found
oil
tional. In 1
1
11
medium
a
of
oil
Highlights aside, Degas's use of the pastel was not conven-
most areas the crayons used were wet, and under magnification the hard and granular rather than
ture suit ace appears
Media anal}
ses carried
and particulate.
soft
out in 1985 suggest that Degas used casein to temper
the pul\ erized pastels, but the data have yet to be confirmed.
the background near the It
must
paints leached
and other additives usually
since they do not contain the clays
in pastels.
in all areas except
of the composition; these
left
thumb
of the gloved
hand reveals
Some
loss of
a pentimento.
should also be noted that the pink bodice was executed over layers of blue
and red (revealed by sampling). Condition: The painting support
now tion.
active, has
on urred
dry and
is
brittle,
and
flaking, although not
in the past. Otherwise the picture
Sampling did not reveal any fading of the
is
in good condi-
colors.
l-
The
Monel
Materials/ Techniques:
Red
count: warp 24 threads per cm.; weft 36 threads per cm.).
Boats,
,
trgenteuil,
primed with
'875
a light
painting
is
executed on a twill canvas (thread
unmixed
blend optically at a distance but at close range are seen
Under infrared illumination two pentimenti
\
is
pre-
colors.
These
as clearly separate.
are visible. In the family of
foreground the position of the lower right duck has been
left
changed and
canvas
beige ground. In some areas, especially the water and the
large red boat, the paint has been applied in pure
ducks in the
The
a sixth
duck, farther to the right, has been painted out. Also
infrared illumination are the faint outlines of a rowing boat,
isible witli
immediately beneath the gray sailboat on the right side of the painting.
No underdrawing is
The
could be detected.
signature, in the lower left corner,
painted in dark blue paint with specks of vermilion.
Condition: There are no conservation records prior to 1984. has been
wax
inal tacking
The
painting
lined and stapled onto a Bearce expansion stretcher.
margins remain
intact.
The
painting
is
in
The
orig-
good condition, with
no damage or retouching. 5-
Monet
Materials /Techniques:
The Gare Saint-Lazare^
warp 22 threads per cm.; weft 27 threads per
Arrival of a Train,
1877
The
support consists of a twill canvas (thread count:
printed with a light beige-colored ground. slight
impasto and
visible
a fairly
pronounced age
cm.).
The
The
canvas was pre-
paint layer
crackle.
There
is
is
dense, with
no underdrawing
under infrared illumination. However, under infrared
it is
possible to
determine that Monet repainted and raised the engine and the chimney of the smoking locomotive on the right side of the painting. Circular marks on all
four sides impressed into the wet paint must have been caused by the
corks used to separate a stack of paintings.
Condition:
The
paint layer
the painting was
wax
is
in good condition, with no retouching. In 1955
lined and stapled onto a Bearce spring stretcher.
The
previous nail holes indicate that the original stretcher was somewhat smaller
and that the painting was stretched
at a slightly different angle. It
was
also
cleaned and revarnished at this time. 6.
Monet
Materials /Techniques:
Madame
canvas (thread count: 30 by 34 threads per cm.).
1882
Paul,
The
painting
is
150
fine, plain
The colorman's stamp on the Bue de Laval. Paris, couleurs, toiles
larger piece of commercially preprimed canvas.
reverse reads, "H. Pieille + E. Troisgros,
weave The canvas was cut from a
executed on a very
et
panneaux." The five-membered, mortise-and-tenon-joined stretcher
The priming,
original.
underdrawing
visible
throughout,
stamps on the reverse of the canvas and
The
Condition:
restretched. It
gray
There
is
no under infrared illumination. There are nine customs visible
painting
is
a light
is
color.
stretcher.-
in excellent condition. It has never
was surface cleaned
in
is
been lined or
1972 and again in 1985. There
is
a thin,
white impasto areas.
slightly yellowed varnish film, particularly visible in the
7-
The
executed on a finely woven, plain
Renoir
Materials /Techniques:
Self-Portrait at Thirty-Five,
weave canvas (thread count: 32 threads per cm.). The canvas has preprimed ground that
1876
painting
is
clearly visible, especially at the
is
upper
a white,
left
and right
and lower right edges. The paint is very thinly applied, allowing a major change in the position of the right arm to be seen. Under infrared examination, the bent arm, from elbow to hand, seems to have been rubbed out with a cloth
and lightly painted over
to appear as part of the coat.
Condition: Although there are no conservation records for this painting prior to 1984, the painting has obviously
"Douane
been glue
lined.
There
is
a
stamp.
centrale Paris," on the back of the lining canvas, suggesting that
the painting was lined in Europe before coming to America.
The
original
tacking margins have been cut. However, remnants of the tacking margins
show the
original dimensions of the painting to
timeters. It
is
now
have been 71.7 by 55.7 cen-
stretched on a slightly larger stretcher.
in very good condition, with
The
paint layer
is
minor inpainting around the edges.
8.
The
Renoir
Materials/ Techniques:
Seated Bather,
(thread count: 24 threads per cm.).
ca.
1885-1884
pigment,
off-white in color;
edge of the painting. Also
left is
is
support consists of a fine, plain weave canvas
it is
The ground, which
contains lead white
where the white drapery meets the
visible
visible in a
few areas (especially in the figure)
red underpainting directly over the ground. Under infrared illumination
there
is
evidence of slight compositional changes: the right proper foot has
been displaced three inches, and the braceleted arm has possibly been
dis-
placed as well.
Condition: Although there are no conservation treatment records prior to 1959,
when
been glue
surface grime was removed,
lined.
The
nants of them, however, are visible on painting retains
its
it is
apparent that the painting has
original tacking margins all
The
original dimensions.
have been cut down. Rem-
four sides, indicating that the paint layer
is
in
good condition,
with very minor retouching. 9-
Renoir
Materials/Techniques: The drawing was executed
Two Nude Women, Study for
on
the ca.
"
Large
a sheet of
Some
wove paper
of poor quality, with a
in
two
colors of
sanguine
groundwood-pulp content.
chalk strokes have scratched and marked the paper; in these areas,
Bathers,''''
1886-1887
natural red chalk was probably used as tion
and can contain pockets
the
left leg of
left
hand
it is
subject to variation in composi-
of grit. AYhite chalk
the bather to the right.
Some
was used
for the drapery
areas of the composition
of the right bather, the facial features of both figures,
foliage in the
background
â&#x20AC;&#x201D; suggest that
Renoir
initially
and the
executed the draw-
ing in careful, delicate lines but went back over
it
Stumping was combined with
bare paper to give the
a judicious use of
to
on
â&#x20AC;&#x201D; the
emphasise the contours.
bathers' bodies the appearance of smooth, sculpted surfaces. Renoir used the
broad side of the chalk to define coarser textures such as hair. At some point, the lower
and the
!5 X
left
left
corner of the drawing was cut out. a
arm
of the
new
piece of paper added,
recumbent bather extended. The texture
of the paper.
.
the color of the chalk, and the quality of the line suggest that this alteration
was made by Renoir, although
becoming
of the sheet,
aged differently from the rest
this section has
less discolored.
The drawing has suffered from the artist's choice of a wood-pulp The paper is not only susceptible to harmful, acid-producing
Condition:
paper support.
materials in the environment but to unstable components of the pulp, lignins
and hemicelluloses, which were not removed during the paper's manufacture. Vertical and horizontal tears occurred as a result of the paper's increasing fragility as
it
some point the drawing was mounted
aged. At
to a secondary
support of equally poor quality, and the potential for tearing and deterioration
was increased by the stretching of
this
secondary support onto a wooden
stretcher. Tears occurred at three of the corners
mended with paper and covered with chalk
and were subsequently
hide the staining caused by
to
come
the adhesive used. In 1955, after the drawing had
removed from silk i
support.
to
the Fogg,
was
it
new
secondary support, bathed, mended, and mounted to a
its
The drawing
is
currently in good condition.
0.
The
Renoir
Materials /Techniques:
Gabrielle in n lied Dress,
(thread count: 21 threads per cm.).
support
is
a
medium,
plain
weave canvas
preprimed with a thinly applied
It is
off-
white ground. The hve-membered, mortise-and-tenon-joined stretcher
1908
appears to be original. Although the canvas has been restretched, the additional holes in the tacking
confirm
its
underdrawing.
wash
The
margin match those
in the stretcher, helping to
authenticity. Infrared examination reveals no pentimenti or
appears that the
It
of color. Portions of the
initial
background and dress
and highlights are
flesh tones
composition was laid out in a thin
up more
built
areas have been achieved by allowing the thin wash
adding darks on
top.
The
consist only of this wash.
thickly. to
signature in the lower right
Shadows
in these
show through and
is
abraded. N.B.
The
signature cannot definitely be seen as a stamp.
Condition:
The
painting has been lined, although there
of the treatment.
The
original tacking
no documentation
and no notable retouching.
a very slightly yellowed natural resin varnish in
is
margins are present. The painting has It is
good condition.
Materials/ Techniques:
The
support
count: 23 by 26 threads per cm.).
is
The
a fine, plain
weave linen (thread
thinly applied ground
is
yellowish
white, consisting mainly of lead white with a trace of calcium carbonate.
The ground
is
exposed in several areas. Infrared examination reveals no
discernible underdrawing, though Manet's extensive use of grays and black
would obscure washes
a sketch containing carbon. Paint application ranges
to multiple layers
can be seen in the X-rays
from thin
and some impasto. Major compositional changes (fig. 1).
Brushstrokes with relatively high impasto
and lead white content that do not correspond
to
the final image are present
beneath the bodice and proper right arm of the central figure. The position of this
arm
has been straightened;
sported a puffed, short sleeve.
it
The
formerly crossed the figure's torso and
hastily painted child in the foreground
definitely a later addition to the composition.
One
is
interpretation of the
X-rays suggests that the child was formerly more prominently positioned in the work, with
Condition:
The
its
head located
at
the waist of the central figure.
painting has been lined (with glue/paste), and
tacking margins have been cut. There
was done. Very Figure
1
painting
is
little
inpainting
its
original
no record of when and where
this
present, and the overall condition of the
very good. Ultraviolet examination indicates the presence of
X-ray photograph of Edouard
natural resin varnish that
Manet's Skating.
pigment
152
is
is
identification,
is
slightly yellowed.
was undertaken
A
in 1984.
a
technical analysis, including
12.
Seurat
Materials/ Techniques:
Vase of Flowers,
22/24 threads per cm.).
ca.
1879-1881
beige color.
The
underlayer,
is
The support The ground,
is
a plain
weave canvas (thread count:
on
visible
all
four sides,
warm
a
is
use of diagonal, crisscrossing brushstrokes, especially in the
many
visible in a raking light in
areas.
Their presence, espe-
the vase and table, gives the painting a distinct texture. Infrared
cially in
illumination reveals one pentimento: a flower appears to be painted out in
the top
left
Condition:
of the vase.
The
painting has been lined, and
have been trimmed. The present stretcher
is
its
original tacking margins
approximately^ one centimeter
would have been. No record of when and where this was carried out exists. Some flattening of the impasto has occurred. A slightly yellowed, natural resin varnish coats the painting. The paint layer appears to be in fairly good condition, with minor inpainting. larger in both directions than the original
1 3-
The support
Seurat
Materials/ Techniques:
Seated Figures, Study for
ground. The wood appears to be sealed with a resinous substance enhancing
"A
Sunday Afternoon on
its
warm
consists of a
orange tone. Seurat has exploited
this
wood panel without
warm
allowing
color,
a
it
to
the
shine through in several areas. This
is
particularly noticeable in the upper
Island of the Grande Jatte,^
left
1884-1885
directional, often of juxtaposed
complementary or unmixed
pentimenti or underdrawing
visible
corner along the far riverbank.
Condition:
The
brushstrokes are short and multicolors.
No
under infrared illumination.
The back and edges mahogany panel (endgrain is used for the vertical cut wood for the horizontal edges). It is impossible
panel has been cradled with mahogany.
are veneered to imitate a
edges and longitudinally to
is
The
determine the wood type or thickness of the original panel without remov-
ing a section of this veneer.
The
edges of the painting have been carefully
retouched to disguise the veneered additions. There are no records of
and where
this
treatment was carried out. The paint layer
is
in
when
good condi-
with one inpainted dent along the bottom right. Several other dents or
tion,
must have
scrapes are covered with original paint and
existed in the panel
prior to painting.
14.
Seurat
Woman ca.
Materials/ Techniques: Seurat has chosen his usual drawing materials for
Seated by an Easel,
1884-1888
this study: soft black chalk
and richly textured Michallet paper. The
sheet was torn in quarters, leaving rough edges at the top and
left;
full
the right
and bottom edges retain the feathering irregularities of the deckle edge of the
handmade
paper. Careful inspection reveals the trace of a linear under-
drawing, especially around the head and bodice of the figure. The design was
then
filled in
with overall tone and diagonal hatchings,
angles from upper right to lower artist
left.
Only
in the
sought to represent the fine texture of
laid
on
varying
at
head and hands, where the
flesh, has
the chalk been rubbed
into the paper.
The drawing is in excellent condition, with no significant accismudging of the fragile chalk surface. The paper, however, is some-
Condition: dental
what darkened. 15-
Toulouse-Lautrec
The Black 1881
Countess,
Materials/ Techniques:
mainly of softwood
The
fibers,
painting
executed on
is
artist's
board composed
which has been glued onto chipboard. Pinholes
along the edges (especially the top) indicate that Lautrec tacked the board to a firmer support while painting.
He
his sketch in a black, carbon-based
chose a lead white ground and executed
medium. Several compositional changes
are evident under infrared illumination.
been reworked, and the countess seems
*53
The
to
positions of the figures
have originally held
a
have
whip.
The
umbrella, or the horse's reins.
scalloped lines in the sky cannot be
accounted for but suggest further pentimenti.
Condition:
The painting is in fair condition. The corners are dog-eared, More disturbing is a spotty discoloration (mold?) found
the
trees abraded.
throughout the skv and are no records of
when
in a
few areas
surface was cleaned. In 1985 a of the chipboard.
The
There mounted on chipboard. In 1973 the mahogany cradle was removed from the rear in the lower left foreground.
the painting was
obverse was cleaned of surface grime and varnish;
was then revarnished and lightly inpainted and reduce the abraded appearance of the ing
pigment
identification)
down
to tone
trees.
was undertaken
A
at the
it
the discolored spots
technical analysis (includ-
time of treatment in 1985.
16.
Toulouse-Lautrec
Materials /Techniques: This work
The Hangover or The Drinker,
canvas (thread count: about 14 threads per cm.).
executed on preprimed, plain weave
is
The
major role in the chromatic composition because
a
1887-1889
lead white ground plays
it is
so visible. Original
pencil
marks define the perimeter of the composition on
initial
drawing
is
done in black crayon or chalk;
"underdraw ing."
as
full
all
it
as a
extent of the black drawing.
The
four sides.
cannot correctly be termed
the strokes are not hidden by the paint in
rather used in conjunction with the
it
all
cases but
dark tone. Infrared illumination shows
The
composition was thoroughly
sketched out before painting; some of the lines were executed with the length of the crayon and are modulated from thick to thin. Pentimenti \
isible
with the naked eye
table at upper
left,
—
and the
are found in the areas around the
background. The paint
pillar in the
and transparent, having been leached of
much
of
its oil
— also
bottle, the itself is
binder by the
thin
artist
and then diluted with turpentine. Condition:
The
condition of the painting
colored natural resin varnish.
It
is
very good, apart from a
has been lined and restretched on a
dis-
new
stretcher with the warning: "Caution
— this painting has been waxed."
The
present on
original tacking margins are
records are extant.
A
still
all
four sides.
technical examination (including
No
pigment
restoration
analysis)
was
undertaken in 1985.
*7-
Cezanne Still
Life with
Materials/ Techniques:
Commode,
The
count: 13 threads per cm.) with an off-white ground. thickly layered except in a
ca.
support consists of a plain weave canvas (thread
1885 left).
There
is
(e.g.,
The
paint
is
fairly
the Provencal olive jar on the
extensive early drying crackle, especially in the browns of the
commode. Under a
few areas
infrared the green olive jar has visible underdrawing, and
straw handle on the ginger pot can be clearly seen.
Condition:
The
painting has been triple lined with glue adhesives and the
original tacking margins removed.
The
paint layer appears
somewhat moated
and crushed. In 1959 the painting was cleaned and revarnished, and in 1985 it
was cleaned again. The paint layer
little
is
in fairly good condition, with very
retouching.
18.
Van Gogh Three Pairs of Slioes,
1886-1887
Materials/ Techniques:
The
support
is
(thread count: 13/14 threads per cm.). is
medium, plain weave canvas The first application of ground, which a
white, can be detected only in small areas of
painting.
Over
this first
seen in the X-rays
bottom
ground
(fig. 2),
along the edge of the
was painted. This can be
with the painting beneath oriented
vertically,
its
to the left of the present composition. In raking light the (lowers are
noticeable beneath the right half of Shoes.
»54
loss
a vase of flowers
A
second, white ground layer
covers this entire composition. of the final composition
and
It
shows through the wide early drying cracks "Vincent," which
in the signature,
into the upper right corner of the painting.
A
second signature
is
is
scratched
also
scratched into a black brushstroke at the bottom center edge of the painting.
The 1.5
paint
is
measure up
thickly applied, and individual brushstrokes
to
cm. in width.
Condition:
The
discolored varnish
vious conservation records.
The
was reduced
There are no pre-
in 1985.
painting has been glue lined and
its
tacking margins removed. Ultraviolet examination indicates areas of
No underdrawing was
inpainting in the shoes and background.
original loss
and
detected
under infrared examination. The paint layer is in very good condition (although there is evidence of some flattening of the impasto, due, no doubt, to lining).
The
Materials/ Techniques:
Figure
2.
X-ray photograph of Vincent van
Gogh's Three Pairs of Shoes.
support
is
a plain
weave linen (thread count:
by 16 threads per cm.). The ground layer is thin and white in color (identified as lead: Cambridge, 1984, pp. 30â&#x20AC;&#x201D;31). It is unclear whether or not the canvas was commercially preprimed. There is some indication of a pencil 11
line
marking the perimeter
and
built
up
of the painting.
in a series of layers,
The
paint layer
with no underdrawing
is
fairly thick
visible.
X-rays
emphasize van Gogh's characteristic brushwork: the strokes turned in concen1
9-
around the head and modeling the
tric circles
Van Gogh Self-Portrait Dedicated to
amount
There
face.
is
a considerable
which has been somewhat flattened and impressed with canvas weave. (This may have been caused by stacking or rolling the canvas.) of impasto,
Paul Gauguin,
Condition: There are no conservation records prior to 1980.
1888
ing was cleaned. However, the canvas has been glue lined and the original tacking margins removed. There
strong evidence that
is
when
the paint-
Gauguin himself
restored the painting in Paris in 1893â&#x20AC;&#x201D;1895. (For further information on this
Cambridge, 1984.) At some time it appears to have been smaller stretcher, causing damage around the edges. Obvious,
restoration, see
attached to a
crudely overpainted losses occur above and slightly to the right of van Gogh's
head and above
proper shoulder. This latter
his right
through the neck and chin
Gauguin,"
is
also detailed in the
nical
as a thin
heavily abraded.
The
slit.
The
damage extends
inscription, "a
mon ami
Paid
controversy concerning these damages
above-mentioned publication, together with a
is
full tech-
examination, including pigment analysis.
20.
Gauguin
Materials /Techniques:
Poemes Barbares,
canvas (thread count: 9 by 10 threads per cm.). a
1896
white ground and
The
support consists of a fairly coarse, plain weave
quite thick overall. In
is
in striking contrast to the surface colors,
i.e.,
blue/black hair and emerald green under the vertical (and in
out
some
may have been
The
some
paint layer
is
built
up over
areas the underlavers are
bright vermilion under the
brown
idol.
The
small, mostly
cases only superficial) losses of paint that occur through-
caused by a previous rolling of the canvas.
paint covering the damages has been very freely applied.
have been retouched by Gauguin himself. There proper right hand, which
is
visible
is
The
a small
with the naked eye.
Some
of the
painting
pentimento
may in the
No underdrawing
can
be detected under infrared illumination.
Condition: There are no conservation records prior to 1985.
been glue
lined,
with paper tape. Most of the side of the painting. In
losses
*55
re varnished.
painting has
occur in the figure and hair on the right
1985 considerable surface grime and an extremely were removed. The painting was inpainted
discolored natural resin varnish
and
The
and the original tacking margins have been cut and covered
2
i
Miirdi
The
Materials/ Techniques:
Pissarro
Gras on
the Boulevards,
1897
support consists of a very fine, plain weave
canvas (thread count: 29 by 34 threads per cm.). The ground is light gray, easily visible in the boulevard and buildings, where it is used as a middle
Two
tone.
One,
layers of paint are discernible.
dense covering layer,
a fairly
The
blocks in the -k\ and major architectural features.
unmixed
confetti are painted in a thicker impasto, often with several in a single, short brushstroke.
There
and
figures, trees,
colors
no detectable underdrawing or under-
is
painting (even under infrared illumination).
Condition:
The
painting has been lined (glue/paste), and
margins have been cut
where
this
off
wink was done. The present stretcher
original stretcher
original tacking
its
when and
completely. There are no records of
slightly larger
is
would have been. The paint layer
is
than the
in very good condition,
with no notable retouching. _'
2.
Materials /Techniques: This work
Picasso )
bung
<
in
I
II
earing
a Large Hat.
The
painting
14 threads per cm.).
The
IVoman
the rabbet for
1901
is
the recto of
Woman
with a Chignon.
executed on a medium, plain weave canvas (thread count:
is
canvas
tacked to a strainer, which also serves as
is
The
with a Chignon.
original tacking margins have
been flattened out and covered with gold-colored paint. Creases along the edges indicate that the painting was conventionally stretched at some point in its history.
canvas
is
Stretch scalloping
is
The
present only along the bottom edge.
preprimed with an off-white ground. The paint layer ranges from
thin washes in the underlayer to very high impasto in the brightest whites.
Condition:
The
original tacking margins
stretchings.
However, the painting
have been trimmed
numerous
are in poor condition, perforated with
itself is in
slightly.
They
tack holes from previous
good condition;
it
has never
been lined, and the presence of a layer of paint on the verso has greatly minimized drying crackle.
It is
possible that
Young Girl was,
at
some
point,
covered over with a layer of paint (which was subsequently removed).
Evidence for
this
is
the black pigment (carbon black) that
is
scattered over
the work, trapped in the interstices of the impasto and canvas weave. There are no records of this (or any other) treatment. patches. Ultraviolet examination reveals very
through the face and nose of the
sitter has
The
little
painting
varnished in
is
A
inpainting.
fine scratch
not been retouched.
2 3-
Picasso
Materials/Techniques: The painting
Woman
medium,
with a Chignon,
The
plain
weave canvas used
is
executed on the reverse of the
Young Girl Wearing
for
a
Large Hat.
characteristics of the canvas are noted in the previous entry. Unlike the
1901 recto,
however,
Woman
with a Chignon has no ground;
onto the reverse of the preprimed canvas. antiabsorbent barrier.
The
where
paint layer,
it is
The ground on it is
painted directly
the recto acts as an
thinnest (especially in the
dark outlines of the arms and head), has soaked into the canvas, revealing texture. In other sections, such as the flesh tones,
painted, the canvas structure that Picasso restretched paint
IVoman
is
hidden. Unpainted tacking margins suggest
Young Girl
face
down onto
have been revised several times. This
is
three positions of the line defining the
156
the same stretcher to
with a Chignon. Infrared illumination reveals pentimenti in
the lower right corner; the outlines of the
Condition:
its
which are more thickly
The
painting
is
in very
sitter's
waist and
somewhat apparent
left
proper hip are
left
in
proper
normal
visible.
good condition, with no inpainting.
arm light;
24.
Picasso
Materials/Techniques: The support
Mother and
(thread count: 15 threads per cm,),
Child,
applied.
It
1901
composition (see
documented
to
be of
Jacob's head
fig. 3).
Max
is
thinly and evenly
and infrared examination
Jacob, beneath the present
easily visible in raking light just to the
is
the mother's head. Picasso's signature on this
left of
first
composition, though
can be seen in the light blue area below the drapery on the
faint,
left.
large drips of very liquid paint in the lower left and right belong to the
earlier composition, indicating
Due
state.
its
speedy execution and possibly unfinished
to the thickness of the paint layer of
are difficult to read.
It
appears, however, that
Mother and Child, the X-rays Jacob was seated on the
Max
with books piled on the right. Picasso's signature on the maternite com-
floor
position in the
Condition:
was
preprimed, plain weave canvas
off-white ground
tested positively for lead in 1969. X-rays
reveal a portrait,
The
a
is
The
The
partially
The
this.
upper right
is
brown paint and
in a dark
is
slightly abraded.
painting was examined and X-rayed in 1969. and the varnish
removed
in 1985.
There are no conservation records prior
painting has been glue lined.
but have been cut
Its
down somewhat. The
to
original tacking margins are intact
present stretcher
than the original stretcher would have been. The lower
is
left
slightly larger
corner has been
overglazed to minimize the drips showing through from the composition
underneath. Paint
Figure
loss is
minor, and the paint layer
in excellent condition.
3.
X-ray photograph of a
detail of
Pablo Picasso's Mother and Child.
Materials/Techniques: Picasso executed
whose
of very poor quality,
color has
this
wash painting on
25.
the
is
artist
areas, notably the
up the design entirely with lips
cardboard a
midtone
and purer blue in which
painted the entire image. Despite the fine linear detail in several
The Blind Man, 9째5
aspect of the
in fact a falsification of the original cooler
Picasso
dilute
a
darkened over the years and turned
somewhat reddish hue. Thus the present greenish washes
1
is
and some,
hands and feet of the figure. Picasso seems
locally,
and bony structure
to
have worked
a brush, applying layer after layer of
more concentrated.
of the head,
wash, some
Soft highlights, such as the
may have been
recovered by blotting
or erasure.
Condition: Darkening of the sheet, noted above, has lowered the overall tone
harmony; the surface has been abraded and scratched. At some time the board was mounted on canvas on a strainer. It is not possible to determine whether this mounting was done prior to the of the
image and altered the
execution of the work or
color
at a later
time.
26.
Picasso
Mother and Daughter, 1904
Materials/Techniques: Picasso has drawn with colored crayons on paper of very poor quality; the irregular upper edge of the sheet indicates that it may
have been torn out of an inexpensive sketchpad. The entire design was
first
established in blue crayons, and then the outline of the girl's head was filled in
and her
with black.
profile accented
A
final
Picasso continued to ing.
He
tore
it
with red and yellow crayons and the woman's
touch of blue across the woman's eyebrows indicates that
work with
all
four pigments as he completed the draw-
has signed the sheet in graphite pencil; this perhaps indicates that he
out and sold
Condition:
The
it
or gave
it
away
at a later date.
sheet has substantially darkened from
its
original tone, less-
ening the contrast of the figures, especially in the delicately shaded areas of pale blue hatchings that
Fogg
Collection,
it
was
fill
laid
in their bodies.
down on
a
"When the drawing entered the
heavy cardboard of poor quality;
it
been removed. A former wood-pulp mat has stained the edges; there are traces of foxinjr in the torso of the
l
57
woman.
has
27
.
KimsM'au
Materials/Techniques: The support
The Banks of the
warp 13 threads per cm.; weft 20 threads per cm.). The canvas is stretched on its original strainer, which is inscribed "Bords de l'Oise, 1907." The thinly applied, off-white ground can be seen through the reverse of the loosely woven canvas. It covers the tacking edges, indicating the use of a
ca.
Oise,
1907
is
a fine, "simple cord" canvas (thread
count:
preprimed canvas. The paint layer
is
evenly applied in a thin but pasty
consistency with a low impasto in the lights.
There
is
no apparent use of
Infrared examination does not reveal an underdrawing or any
izing.
obvious pentimenti.
Condition:
The
painting
The edges have been Records document
a
is
in excellent condition. It has never been lined.
taped, but the original tacking margins are intact.
varnish removal, minor inpainting, and revarnishing
in 1977.
28.
Matisse aniums,
Materials, Techniques:
The
painting
is
executed on a plain weave canvas
The stretcher is original and consists of members with mitered mortise-and-tenon joins. The painting has never been restretched. The canvas is preprimed in an off-white color. In some 1
1
hi
cad count: 22 threads per cm.).
five
1915
areas (e.g., the plate, around the outlines of the geranium, and in the back-
ground flower design)
it is left
uncovered.
From areas that barely cover the
ground
geranium blooms. The design appears
to
The
t
Inch also
\\
shows
a
buildup around the
have been sketched in with strokes
of thinU applied black paint. This can be seen
illumination.
paint layer varies in thickness
to a fairly thick
more
clearly
under infrared
change of outline in the flower beneath
he plate.
Condition: The painting
and the inpainting a slight
the
n\
is
is
limited to the ocher-colored table,
ridge in the paint before
was completely dry.
it
erse of the canvas has produced a
slight cracking (in
been
in very good condition. It has never
where
lined,
frame caused
a
A customs
stamp on
round impression on the front and
the upper right corner). Fine drying cracks in the blue
background and wider ones in the ocher foreground reveal the off-white
ground beneath. In 1959 the painting was surface cleaned and revarnished. 29-
Matisse Still
Life with jpples,
Materials/Techniques: The painting that
is
eled to a thickness of about 0.2 cm.
1916 still
as
is
The
approximately 0.5 cm. thick.
A
executed on a thin left
mahogany panel
and right edges have been bev-
thin white ground
wet paint was pushed up by the frame. Pentimenti
is
visible
where the
in the design, as well
the colors, are revealed by the wide drying cracks in the background and
by viewing the painting in raking
have been painted over
a
light.
somewhat
The gray background
appears to
sporadic, thin layer of black,
which
is
over a thicker layer of reddish brown, while the blue table appears to have
been painted over
a dark, grayish blue color. This latter color
drying cracks in the gray background above the blue 3.5 cm. on the
left,
is
visible in the
table. It extends
about
tapering to about 1.5 cm. on the right, indicating that
the preliminary table was at a slightly different angle. Slight changes in the outlines of the plate, apples, and glass are visible in raking light.
layer
is
some
slight
fairly
smooth, apart from
rounded impasto
a
few scattered lumps
in the plate, glass,
(in the
The
paint
ground) and
and apple on the
right.
Under
infrared illumination additional brushstrokes outlining the contours of the apples are visible.
Condition:
The
painting
is
varnish. This was partially
covered with a thick layer of natural resin
removed
in 1985.
There are no records
of prior
treatment. Thin strips of wood have been nailed into the top and bottom edges of the panel.
158
3°-33-
The drawings were executed on warm white wove
Matisse
Materials/ Techniques:
Mile. Roudenko {Dancer
paper with the use of a pointed, double-nibbed pen and India ink. To vary textural effects in the compositions, as with the plant below the figure in
of the
Ballets Russes), cat. 34,
1939
Matisse exploited the broken, faint line obtainable
permitted to run almost dry. the line describing the
The same technique was
when
the pen
is
also used to enliven
eyelid of the figure in cat. 30. Matisse's choice of a
left
smooth, heavily sized paper to work on was well suited to his use of pen and ink in these drawings. 34-
Condition: Cats. 30 and 33 were mounted onto sheets of paper similar to the primary drawing supports. When they came to the Fogg, however, the sec-
Matisse
Nude Leaning on Her Left Elbow,
ondary support of leaning on her
33 carried the drawing of the reclining nude woman enzyme treatment was used to separate
cat.
left
elbow. In 1977 an
the secondary supports from the drawings. Cat. 31 exhibited foxing-type ca.
1935-1939
adhesive, which was reduced during a wet treatment. All drawings have
thumbtack
30â&#x20AC;&#x201D;32 have been
cats.
The
holes in the corners or edges.
top, left,
and bottom edges of
cut.
35-
The canvas
Bonnard
Materials/ Techniques:
Interior with Still Life of Fruit,
22 by 24 threads per cm.).
A
tacking margins have been removed) on
*9 2 3
side
also
is
all sides
the only one with marked scalloping.
sketch was
made with
weave (thread count:
of a fine plain
is
cream-colored ground reaches the cut edges (the except for the right. This appears as
It
if
a preliminary
thin washes of color and that the edges were then
taped and the painting completed.
An underdrawing
magenta paint is also visible throughout the painting and even more apparent under infrared illumination. There are numerous nail holes on the front of the painting around the edges. These were made after the thinly applied undersketch had been executed and
may
in thin purple
be the result of the artists having
tacked the painting onto a drawing board. Under ultraviolet illumination, areas with white fluoresce a pale lime green, indicating the use of the pig-
ment
zinc white.
Condition: There are no conservation records prior has been glue lined and the edges cut and taped.
to 1985.
The
The
painting
present taping corre-
sponds almost exactly to the above-mentioned taping (presumably by the
The
artist).
paint layer
under
(visible
is
in
good condition, with only minor retouching
ultraviolet illumination)
around the edges.
36.
Dufy
Materials/Techniques: The support
Race Track
canvas (thread count: 14 by 10 threads per cm.).
at Deauville,
consists of a
medium,
The
plain
stretcher,
weave
which
appears to be original, has mortise-and-tenon joins and five members. the Start,
19 2 9
The ground
an off-white color and covers the tacking margins on
is
except the top.
The
paint layer
impasto that include the
is
all
sides
generally even, apart from some areas of
trees, riders,
and the spectator with green
parasol.
In the right fore- and middle ground the paint has been applied in thin
washes, revealing the ground beneath. Infrared illumination reveals a few
changes in the composition. Most notable
above and slightly to the Condition:
The
been glued
to
The
paint layer
is
a figure,
The
painting has never been lined.
Its
which was painted
painting
is
out.
unvarnished.
tacking margins have
is
in fairly good condition but
some
is
slightly
uneven (due
of the colors to mild solvents and water).
possibly
The
sur-
spattered with an insoluble, clear substance, especially in the upper
right corner. partially
There
is
feather cracking, especially in the sky, which has
been caused by
surface cleaned in 1972.
159
is
the signature.
the stretcher, and the tack holes appear to have been reused.
to the sensitivity of
face
left of
stresses related to the stretcher.
The
painting was
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Index of Artists and Works (The numbers
refer to catalogue entries)
Paintings and Drawings Bonnard,
1'icrre
lanne, Paul
(
D
Edgar
is,
Inter io> with Still
Still
Life of Fruit (35)
Commode
Life with
The Rehearsal
(17)
(2)
Singer with a Glove (3) I
i
(
)lll \
/
I'l.Mllll
.
Luguin, Paul
ni\
Constantin
-.,
Mam
i
I
Matisse
Race Track
at Deauville, the Start (36)
Poemes Barbares (20)
A
Lady of Fashion
Idouard
Skating (11)
Henri
Geraniums Still
(1)
(28)
Life with Apples (29)
Mile. Roudenko (Dancer of the Ballets Russes) (30â&#x20AC;&#x201D;33) \
Monet, Claude
ude Leaning on
Red
Her Left Elbow
(34)
Boats, Argcnteuil (4)
The Garc Saint-Lazare; Arrival of a Train Madame Paul (6) Picasso,
Pablo
)
oung Girl
fl
(5)
earing a Large Hat (22)
Woman
with a Chignon (23) Mother and Child (24) The Blind Man (25)
Mother and Daughter Pissarro,
Camille
Renoir, Pierre-Auguste
Mardi Gras
(26)
on the Boulevards (21)
Self-Portrait at Thirty-Five (7)
Seated Bather (8)
Two Nude Women, Study for Gabrielle in a
Red Dress
Rousseau, Henri
The Banks of the Oise
Seurat, Georges
Vase of Flowers (12) Seated Figures, Study for
the
"Large Bathers"
(27)
"A
Sunday Afternoon on
Jatte" (13)
Woman Toulouse-Lautrec, Henri de
Seated by an Easel (14)
The Black Countess (15) The Hangover or The Drinker
Van Gogh, Vincent
(16)
Three Pairs of Shoes (18) Self Portrait Dedicated
174
(9)
(10)
to
Paul Gauguin (19)
the Island
of the Grande
Sculptures the Feet Not Touching Grande Arabesque, Third Time (38)
Degas, Edgar
Horse Trotting,
Despiau, Charles
Portrait of Mme. Henri de
Maillol, Aristide
Head of a Woman
the
Ground
(37)
Waroquier (42) Seated Man, Statue for a Monument to Mayrisch (43)
Bust of Renoir (40)
He de France
l
75
(41)
(39)
Photograph Credits
All
photographs of items in the Wertheim Collection by Michael Nedzweski
and Rick Stafford. Photographs of reference illustrations have been supplied, in the majority of cases, by the
owners or custodians of the works. The following
photographs for which
a separate
acknowledgment
New York: Introduction, fig. John D. Schiff, New York: cat. 3, fig. 1. Jones-Gessling Studio, Huntington, New York: Bachrach Studios,
Photo Archives Matisse:
cats.
Photographie Bulloz, Paris:
30—33,
is
list
applies to
due:
1.
cat. 8, fig. 2.
fig. 1.
cat. g, fig. 2.
Reunion des Musees Nationaux,
Paris: Introduction, fig. 5; cat. 5, fig. 1;
cat. 10, fig. 1; cat. 19, fig. 1.
Monotype Walbaum, a type-face cut by J. E. Walbaum (1768-1839), a founder at Goslar and Weimar, Germany, in the early years of the nineteenth century. Although Walbaum's matrices are still in the possession of the Berthold foundry, which acquired them in 1919, the Berthold version used here was not cut from the originals. The WalThis book
is
set in
—
baum
176
face
was
first
—
introduced into England by the
Curwen
Press in 1925.
ISA" "ÂŤ*Âť
wf No
>9
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Impressionism Pierre Courthion
By
62 hand-tipped plates
illustrations, including
314
in full color
Monet By Robert Gordon and Andrew Forge 565
illustrations, including 125 plates in full color
Henri Matisse:
The Early
^
ears in Nice 1916-1930
By Jack Covvart and Dominique Fourcade 460
illustrations, including
188 plates in
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Degas By Daniel Catton Rich 69
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Manet 1832-1883 By Franeoise Cachin and Charles
S.
Moilett.
in collaboration with Michel Melot
461
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Cezanne: A Biography
By John Bewald 270
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On
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Henri Matisse.
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On
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in
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II
IK"
)ut\
hi
\iist idc
Gu
Maiilol
Edouard Manet lenri
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Matis
Claude Moncl Pablo Picasso mille Pissarro
Pierre-Auguste Renoir
Henri Rousseau Seurat
Henri de Toulouse-Lautrec viqeent van Goi^h