Art History News: July 2015

Friday, July 31, 2015

Masterpieces from the Hermitage: The Legacy of Catherine the Great

More than 400 works from the personal collection of Catherine the Great will travel to Australia 31 July 2015 – 8 November 2015. Gathered over a 34-year period, the exhibition represents the foundation of the Hermitage’s collection and includes outstanding works from artists such as Rembrandt, Velasquez, Rubens and Titian. Exemplary works from Van Dyck, Snyders, Teniers and Hals will also travel, collectively offering some of the finest Dutch and Flemish art to come to Australia.

Rembrandt Harmensz. Van Rijn, Young woman trying on earrings 1657. Oil on wood panel, 39.5 х 32.5 cm. The State Hermitage Museum, St Petersburg (Inv. no. ГЭ-784). Acquired from the collection of the Comte de Baudouin, Paris, 1781.

The exhibition, presented by the Hermitage Museum, National Gallery of Victoria and Art Exhibitions Australia, is exclusive to Melbourne as part of the Melbourne Winter Masterpieces series.

Catherine the Great’s reign from 1762 to 1796 was known as the golden age and is remembered for her exceptional patronage of the arts, literature and education.

Of German heritage, Catherine the Great was well connected in European art and literature circles. She saw herself as a reine-philosophe (Philosopher Queen), a new kind of ruler in the Age of Enlightenment. Guided by Europe’s leading intellectuals, such as the French philosophers Voltaire and Diderot, she sought to modernise Russia’s economy, industry and government, drawing inspiration both from classical antiquity and contemporary cultural and political developments in Western Europe.

A prolific acquirer of art of the period, Catherine the Great’s collection reflects the finest contemporary art of the 18th century as well as the world’s best old masters of the time, with great works by French, German, Chinese, British, Dutch and Flemish artists. Notable in this exhibition are entire groups of works acquired from renowned collections from France, Germany and England representing the best collections offered for sale at the time.

Exquisite decorative arts will be brought to Australia for this exhibition, including 60 items from the Cameo Service of striking enamel-painted porcelain made by the Sèvres Porcelain Manufactory in Paris. Commissioned by Catherine the Great for her former lover and military commander, Prince Grigory Potemkin, the dinner service features carved and painted imitation cameos, miniature works of art, based on motifs from the French Royal collection.

Director of the Hermitage Museum, Mikhail Piotrovsky said, ‘These outstanding works from the personal collection of Catherine the Great represent the crown jewels of the Museum. It was through the collection of these works and Catherine the Great’s exceptional vision that the Hermitage was founded. Today it is one of the most visited museums in the world. We are very pleased to be able to share these precious works with Australian audiences at the 250-year anniversary of this important institution.’

Catherine the Great’s love of education, art and culture inspired a period of enlightenment and architectural renaissance that saw the construction of the Hermitage complex. This construction includes six historic buildings along the Palace Embankment as well as the spectacular Winter Palace, a former residence of Russian emperors. On view in the exhibition will be remarkable drawings by the Hermitage’s first architects Georg Velten and Giacomo Quarenghi, complemented by excellent painted views of the new Hermitage by Benjamin Patersen.

Alexander Roslin Swedish 1718–1793 Portrait of Catherine II 1776–77 oil on canvas

These, along with Alexander Roslin’s majestic life-size portrait of Catherine, set the scene for a truly spectacular exhibition.

Visitors to the exhibition will be able to immerse themselves in Catherine the Great’s world evoking a sensory experience of a visit to the Hermitage Museum in St Petersburg. The exhibition design will have rich treatments of architectural details, interior furnishings, wallpapers and a colour palette directly inspired by the Hermitage’s gallery spaces. Enveloping multimedia elements will give visitors a sense of being inside the Hermitage, evoking the lush and opulent interiors.

The Hermitage Museum was founded in 1764 by Catherine the Great and has been open to the public since 1852. With 3 million items in its holdings, the Hermitage is often regarded as having the finest collection of paintings in the world today. In 2014, The Hermitage celebrated its 250-year anniversary and opened a new wing of the museum with 800 rooms dedicated to art from the 19th to 21st centuries.

The exhibition is organised by The Hermitage Museum, St Petersburg in association with the National Gallery of Victoria and Art Exhibitions Australia.

Titian
Italian [1488–90]–1576
Portrait of a young woman [c.1536]
oil on canvas
96.0 х 75.0 cm
The State Hermitage Museum, St Petersburg [Inv. No. ГЭ-71].
Acquired from the collection of Baron Louis-Antoine Crozat de Thiers, Paris 1772

Anthony van Dyck
Flemish 1599–1641
Family portrait (c. 1619)
oil on canvas
113.5 х 93.5 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-534)
Acquired from a private collection,
Brussels, 1774

Frans Snyders
Flemish 1579–1657
Concert of birds (1630–40)
oil on canvas
136.5 х 240.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-607)
Acquired from the collection of Sir Robert
Walpole, Houghton Hall, 1779

Peter Paul Rubens and workshop
Flemish 1577–1640
The Adoration of the Magi (c. 1620)
oil on canvas
235.0 х 277.5 cm
The State Hermitage Museum, St Petersburg
(Inv. № ГЭ-494)
Acquired from the collection of Dufresne,
Amsterdam, 1770

Diego Velázquez
Spanish 1599–1660
Luncheon (c. 1617–18)
oil on canvas
108.5 х 102.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-389)
Acquired 1763–74

Leonardo Da Vinci (school)
Female nude (Donna Nuda) (early 16th
century)
oil on canvas
86.5 х 66.5 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-110)
Acquired from the collection of Sir Robert
Walpole, Houghton Hall, 1779

Peter Paul Rubens and workshop
Flemish 1577–1640
The Apostle Paul (c. 1615)
oil on wood panel
105.6 х 74.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-489)
Acquired before 1774

Cornelis de Vos
Dutch/Flemish (c. 1584)–1651
Self-portrait of the artist with his wife
Suzanne Cock and their children (c. 1634)
oil on canvas
185.5 х 221.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-623)
Donated by Prince G. A. Potemkin, 1780s

Jean-Baptiste Santerre
French 1651–1717
Two actresses 1699
oil on canvas
146.0 х 114.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-1284)
Acquired 1768

Anthony van Dyck
Portrait of Philadelphia and Elizabeth Wharton 1640
oil on canvas
162.0 х 130.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-533)
Acquired from the collection of Sir Robert
Walpole, Houghton Hall, 1779

Charles Vanloo
French 1705–65
Sultan's wife drinking coffee (1750s)
oil on canvas
120.0 х 127.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-7489)
Acquired from the collection of Madame
Marie-Thérèse Geoffrin, Paris, 1772

Domenico Capriolo
Italian (c. 1494)–1528
Portrait of a young man 1512
oil on canvas
117.0 х 85.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-21)
Acquired from the collection of Baron LouisAntoine
Crozat de Thiers, Paris, 1772

Jean Louis Voille
French 1744–1804
Portrait of Olga Zherebtsova (1790s)
oil on canvas
73.5 х 58.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-5654
Acquired from the collection of E. P. Oliv,
Petrograd, 1923

Peter Paul Rubens
Flemish 1577–1640
Landscape with a rainbow 1632–35
oil on canvas
86.0 х 129.0 cm
The State Hermitage Museum, St Petersburg
Acquired, 1769 (Inv. № ГЭ-482)

David Teniers II
Flemish 1610–90
Kitchen 1646
oil on canvas
171.0 х 237.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-586)
Acquired from the collection of Sir Robert
Walpole, Houghton Hall, 1779

Melchior d’Hondecoeter
Dutch 1636–95
Birds in a park 1686
oil on canvas
136.0 х 164.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-1042)
Acquired from the collection of Jacques
Aved, Paris, 1766

Jean-Baptiste Perronneau
French 1715–83
Portrait of a boy with a book (1740s)
oil on canvas
63.0 х 52.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-1270)
Acquired from the collection of A. G.
Teplov, St Petersburg, 1781

Rembrandt Harmensz. Van Rijn
Dutch 1606–69
Portrait of a scholar 1631
oil on canvas
104.5 х 92.0 cm
The State Hermitage Museum, St Petersburg
(Inv. no. ГЭ-744)
Acquired from the collection of Count
Heinrich von Brühl, Dresden, 1769

Tuesday, July 28, 2015

The American Spirit: Painting and Sculpture from the Santa Barbara Museum of Art

On view June 13 through September 6, 2015 at the Tampa Museum of Art

Between the 1830s and the end of the First World War, American art came into its own. From the majestic Hudson River School paintings of Thomas Cole, John Kensett, and Albert Bierstadt to the gritty urban realism of Robert Henri and John Sloan, this presentation draws on the rich holdings of American paintings and sculptures in the collection of the Santa Barbara Museum of Art.

This selection of more than 50 paintings and eight sculptures highlights the maturation of a distinctly American idiom, one informed by international currents and engaged with capturing the fluxes of modern life. Masterpieces of landscape, genre, still-life, and portraiture, punctuated by a selection of sculptures, trace an evolution in style from an art driven by the mandates of westward expansion to one animated by experimentation. In both idealized and naturalistically rendered landscapes, in scenes of everyday life, or meticulously detailed images of everyday objects, the presentation also narrates an important chapter in American cultural history that witnessed the Civil War and its aftermath, the expansion of national boundaries and the closing of the western frontier, and the transformations wrought by the emergence of new technologies at the dawn of the 20th century.

This exhibition has been organized by the Santa Barbara Museum of Art.

From an excellent review in the Tampa Bay Times (some images added):

By the end of the 19th century, landscape paintings such as

George Inness' Morning, Catskill Valley and its flaming autumn trees inject a more overt spirituality.

Though sentimentality was a hallmark of many narrative or genre works of the time, they began also to address the reality of a growing urban underclass, a combination seen in

John George Brown's Boy Fishing and

Charles Blauvelt's portrait of an immigrant in Homeward Bound From New York.

John George Brown (British, active USA, 1831-1913), Pull for the Shore, n.d., Oil on canvas, 24 x 39 3/4 in., Santa Barbara Museum of Art. Gifts from the Estate of Mrs. Stanley McCormick, Norman Hirschl and the American Federation of Arts to the Preston Morton Collection by exchange 1971.18

In Brown's Pull for Shore, the men in a rowboat are presented in a more straightforward way, but avoiding the bleak realities that existed for poor working people...

"Cosmopolitanism in the Gilded Age" gives us the upside of all the new money at the turn of the century.

A Childe Hassam painting of The Manhattan Club and the swells walking around it, the

Interior of His Brother's House in Boston, by Walter Gay and

William Merritt Chase's The Lady in Pink (Portrait of the artist's wife), 1886 all excellent, aren't voyeuristic (they were painted at a time when those who would have seen them were social equals) or aspirational (ditto).

Combining works representing the "Closing of the Frontier" and those for the "Dawn of Mass Entertainment" into a single theme was a stretch for me in some instances, but I appreciated the unexpected juxtapositions. Frederic Remington's heroic bronze mountain man (1903) seems a long way from

Louis Eilshemius's disaffected patrons in the vaguely unsavory painting Plaza Theatre (1915), which calls to mind the Kit Kat Club in Cabaret. They're separated by just 12 years but we see the nostalgia and romance for a vanishing way of life and the strengths of individualism contrasted with a competing cynicism and sense of isolation.

The show ends with an homage to the Eight, a group of early 20th century artists who participated in a controversial exhibition in 1908...

Robert Henri (American, 1865-1929), Derricks on the North River, 1902, Oil on canvas, 26 x 32 in., Santa Barbara Museum of Art. Museum purchase for the Preston Morton Collection, with funds provided by the Chalifoux Fund 1977.45

As Henri wrote: "Paint should be as real as mud." His Derricks on the North River is a far cry from the Manhattan Club.

So is George Bellows' Steaming Streets, another dark urban landscape in which a trolley, spooked horse and onlookers combine. (Bellows wasn't in the Eight show but was an important part of Henri's circle.) Among other artists who weren't as tight with the Ashcans that were included in the Eight show was Maurice Prendergast; his Summer in the Park is a bright frolic composed of paint dashes that have no resemblance to mud.

Carnegie Museum of Art: CMOA Collects Edward Hopper

CMOA Collects Edward Hopper
July 25–October 26, 2015
Gallery One

Edward Hopper; Sailing, 1911; oil on canvas; Gift of Mr. and Mrs. James H. Beal in honor of the Sarah Scaife Gallery; Courtesy of Carnegie Museum of Art

In 1913, Edward Hopper sold his first painting at the first Armory Show. But it would be over a decade before the now-famed painter sold another. Instead, Hopper turned to etchings, drawings, and watercolors, finding recognition for his masterful compositions of quiet, meditative moments.

Edward Hopper is best known for his paintings of urban modern life in the 20th century, but the artist initially found success with etching. This medium proved to be ideal for his bold graphic compositions and humble American subject matter that included rooftops, railroads, buildings, and landscapes. Gain behind-the-scenes insight into CMOA’s Hopper collection with curator Akemi May, who will discuss this important moment in the artist’s career, famous printmakers like Rembrandt who inspired him, and the watercolors that led to his recognition as a painter.

Edward Hopper; Night Shadows, 1921; etching; Leisser Art Fund; Courtesy of Carnegie Museum of Art

CMOA Collects Edward Hopper presents all 17 works by Hopper in the museum’s collection, ranging from impressive examples of his etchings, drawings, and watercolors, to the oil paintings for which he is best known. This includes the first painting Hopper sold, Sailing (1911), and his 1936 painting Cape Cod Afternoon, produced after he gained widespread recognition. CMOA Collects Edward Hopper also presents prints by artists who influenced Hopper during his difficult formative years, including Rembrandt, John Sloan, and Charles Meryon.

Edward Hopper; Cape Cod Afternoon, 1936; oil on canvas; Patrons Art Fund; Courtesy of Carnegie Museum of Art

Never before exhibited together, the works in CMOA Collects Edward Hopper reveal the development of an iconic American master, and shed light on the influences that produced his instantly recognizable style.

Edward Hopper; Roofs, Washington Square, 1926; watercolor over charcoal on paper; Bequest of Mr. and Mrs. James H. Beal; Carnegie Museum of Art

CMOA Collects Edward Hopper is organized by Akemi May, associate curator of fine art.

More Images:

Edward Hopper, American, 1882-1967, Rocky Pedestal, 1927, watercolor on paper, Carnegie Museum of Art, Pittsburgh

Thursday, July 23, 2015

Irving Penn: Beyond Beauty

Dallas Museum of Art (April 15–August 14, 2016)
Lunder Arts Center, Lesley University, Cambridge, Massachusetts (September 12–November 13, 2016)
Frist Center for the Visual Arts, Nashville, Tennessee (February 24–May 29, 2017)
Frick Art & Historical Center, Pittsburgh, Pennsylvania (June 17–September 10, 2017)
Wichita Art Museum, Wichita, Kansas (September 30, 2017–January 7, 2018)

Irving Penn (1917–2009), known for his iconic fashion, portrait and still life images that appeared in Vogue magazine, ranks as one of the foremost photographers of the 20th century.

“Irving Penn: Beyond Beauty,” the first retrospective of Penn’s work in nearly 20 years, will celebrate his legacy as a modern master and demonstrate the photographer’s continued influence on the medium. The exhibition features work from all stages of Penn’s career—street scenes from the late 1930s, photographs of the American South from the early 1940s, celebrity portraits, fashion photographs, still lifes and more private studio images.

Penn’s pictures reveal a taste for stark simplicity whether he was photographing celebrities, fashion models, still lifes or people in remote places of the world.

“Irving Penn: Beyond Beauty” is drawn entirely from the extensive holdings of the Smithsonian American Art Museum. On display will be 146 photographs from the museum’s permanent collection, including the debut of 100 photographs recently donatedto the museum by The Irving Penn Foundation.

The exhibition presents 48 previously unseen or never exhibited photographs.

In a career that spanned nearly 70 years, Penn’s aesthetic and technical skill earned him accolades in both the artistic and commercial worlds. He was a master of both black-and-white and color photography, and his revival of platinum printing in the 1960s and 1970s was a catalyst for significant change in the art world. He was one of the first photographers to cross the chasm that separated magazine and fine-art photography, narrowing the gap between art and fashion.

Penn’s portraits and fashion photographs defined elegance in the 1950s, yet throughout his career he also transformed mundane objects—storefront signs, food, cigarette butts, street debris—into memorable images of unexpected, often surreal, beauty.“From his first photographs to the ones he made in the last years of his life, Irving Penn’s consistency of artistic integrity is remarkable,” said Foresta. “He was able to elevate even crushed coffee cups and steel blocks to the realm of great art, printing his images with exacting care.

But in the final analysis his work is not just about beauty, or about the potentials of photography as an art form, but a combination of the two that is indivisible and unique.

The 100 photographs announced as a donation to the museum in 201 3include rare street photographs from the late 1930s and 1940s, most of which are unpublished; images of post-war Europe; iconic portraits of figures such as Truman Capote,

Salvador Dali

and Leontyne Price;

color photographs made for magazine editorials and commercial advertising;

Irving Penn, Mouth (for L’Oréal), New York, 1986, Copyright © by The Irving Penn Foundation

One of the twentieth century’s best-known American photographers, Irving Penn (1917-2009) was one of the first to break the boundaries between magazine and art photography. Opening on October 15^th, this retrospective of Penn’s work—the first in almost twenty years—includes approximately 140 photographs from the American Art Museum’s permanent collection, and debuts 100 photographs recently donated by The Irving Penn Foundation. From the street scenes made in the late 1930s, to his late experimental images (many of them self-portraits), the images in this show reveal Penn’s taste for stark simplicity—a hallmark of his work.

- See more at: http://aspp.com/whats-hanging/irving-penn-beyond-beauty/#sthash.CoILxMFE.dpuf

self-portraits; and some of Penn’s most recognizable fashion and still life photographs.

Irving Penn, Red Rooster, New York, 2003, Copyright © by The Irving Penn Foundation

- See more at: http://aspp.com/whats-hanging/irving-penn-beyond-beauty/#sthash.Fumm3Iyn.dpuf

All the prints were made during the artist’s lifetime and personally approved by him.

Publication

The exhibition is accompanied by a catalog, co-published by The Irving Penn Foundation and the Smithsonian American Art Museum and distributed by Yale University Press, with an essay by Foresta and an introduction by Broun. Foresta’s essay introduces Penn to a younger generation and delves into his use of photography to respond to social and cultural change.

More Work

Images: Irving Penn, Sitting Enga Woman, New Guinea, 1970, printed 1986, platinum-palladium print, Smithsonian American Art Museum, Gift of the artist. Copyright © The Irving Penn Foundation; Irving Penn, Bee, New York, 1995, printed 2001, chromogenic print, Smithsonian American Art Museum, Promised gift of The Irving Penn Foundation. Copyright © The Irving Penn Foundation; Irving Penn, Ball Dress by Olivier Theyskens for Nina Ricci, New York, 2007, silver print, Smithsonian American Art Museum, Gift of The Irving Penn Foundation. Copyright © Condé Nast

In Bloom: Painting Flowers in the Age of Impressionism

On July 19, the Denver Art Museum (DAM) opened In Bloom: Painting Flowers in the Age of Impressionism, the centerpiece exhibition for a campus-wide summer celebration. In Bloom explores the development of 19th-centuryFrench floral still-life painting, and features about 60 paintings by world-renowned French artists Édouard Manet, Edgar Degas, Pierre-Auguste Renoir, Paul Cézanne, Vincent Van Gogh and others. On view through Oct. 11, 2015, In Bloom will be a ticketed exhibition, and free for museum members.

The colorful exhibition demonstrates how a traditional genre was reinvented by 19th-century artists, as the art world's focus was shifting to modernism. The exhibition is co-curated by Dr. Heather MacDonald, Getty Foundation and formerly of the Dallas Museum of Art, and Dr. Mitchell Merling, Virginia Museum of Fine Arts, and curated locally by Angelica Daneo, associate curator of painting and sculpture at the DAM. In Bloom examines the change from meticulous and lush still-life paintings to compositions with looser brush strokes and fewer, unified subjects.

Organized by the Dallas Museum of Art and the Virginia Museum of Fine Arts, the DAM will serve as the last stop for this exhibition. “When we think of the Impressionists, images of vibrant landscapes come to mind, but in this exhibition our visitors will be able to experience the artists’ ability to capture the fleeting beauty of flower bouquets,” said Daneo. “Increasingly popular since the 1500s, the floral still life was revitalized in France during the 1800s, when artists explored the genre’s technical and artistic potential.”

In Bloom follows landmark developments in the French floral still-life genre from the late 1700s to the early 1900s. Visitors will receive a foundation for the experiments of the 19th century by starting with the examination of works by masters such as Anne Vallayer-Coster and Pierre-Joseph Redouté. Highlights of the exhibition include productions by artists from the Lyon School, Impressionist still lifes by Camille Pissarro, Edgar Degas and Pierre-Auguste Renoir and post-Impressionist works by Vincent van Gogh.

The exhibition concludes with pieces by Odilon Redon, Pierre Bonnard and Henri Matisse, who continued the floral still-life tradition as modernism was radically transforming the art world.

Édouard Manet (French, 1832–1883), Flowers in a Crystal Vase, about 1882. Oil on canvas; 12-7⁄8 × 9-5⁄8 in. National Gallery of Art, Washington, D.C., Ailsa Mellon Bruce Collection, 1970.17.37.

Vincent Van Gogh (Dutch, 1853–1890; active in France),Vase with Cornflowers and Poppies, 1887. Oil on canvas; 31-1⁄2 × 26-3⁄8 in. Triton Collection Foundation.

Vincent Van Gogh (Dutch, 1853–1890; active in France), Vase with Carnations, summer 1886. Oil on canvas; 18-1⁄8 × 14-3⁄4 in. Collection Stedelijk Museum, Amsterdam, purchased with the generous support of the Vereniging van Hadendaagse Kunstaankopen, A2235.

Henri Matisse (French, 1869–1954), Still Life: Bouquet and Compotier, 1924. Oil on canvas; 29-1⁄4 × 36-1⁄2 in. Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Dr. Bryan Williams. © 2015 Succession H. Matisse / Artists Rights Society (ARS), New York

Henri Matisse (French, 1869–1954), Still Life with Pascal’s “Pensées,”1924. Oil on canvas; 19-1⁄4 × 25-1⁄8 in. Minneapolis Institute of Arts, Gift of Ruth and Bruce Dayton, 2010.37 © 2015 Succession H. Matisse / Artists Rights Society (ARS), New York

Vincent Van Gogh (Dutch, 1853–1890; active in France), Vase of Flowers, summer 1890. Oil on canvas; 16-9⁄16 × 11-7⁄16 in. Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation), S109V/1962.

Paul Cézanne (French, 1839–1906), The Blue Vase, about 1889–90. Oil on canvas; 24 × 19-1⁄16 in. Musée d’Orsay, Paris, Bequest of Comte Isaac de Camondo, 1911, RF 1973 © RMN-Grand Palais / Art Resource, NY

Paul Gauguin (French, 1848–1903), Still Life with Peonies, 1884. Oil on canvas; 23-1⁄2 × 28-3⁄4 in. National Gallery of Art, Washington, D.C., Collection of Mr. and Mrs. Paul Mellon, 1995.47.10.

Édouard Manet (French, 1832–1883), Vase of White Lilacs and Roses, 1883. Oil on canvas; 22 × 18-1⁄8 in. Dallas Museum of Art, The Wendy and Emery Reves Collection, 1985.R.34

Alfred Sisley (French, 1839–1899), Still Life of Wildflowers, 1875. Oil on canvas; 25-3⁄4 × 19-7⁄8 in. Virginia Museum of Fine Arts, Richmond, Collection of Mr. and Mrs. Paul Mellon, 85.500.

Henri Fantin-Latour (French, 1836–1904), Asters in a Vase, 1875. Oil on canvas; 22-7⁄8 × 23-1⁄4 in. Saint Louis Art Museum, Museum Purchase, 4:1944.

Henri Fantin-Latour (French, 1836–1904), Chrysanthemums, about 1889. Oil on canvas; 38-3/8 × 36-5/8 in. The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: William Rockhill Nelson Trust.33-15/2. Photo: Jamison Miller

Camille Pissarro (French, 1831–1903), Bouquet of Flowers, about 1898. Oil on canvas; 21-1⁄4 × 25-3⁄4 in. Fine Arts Museums of San Francisco, Bequest of Marco F. Hellman, 1974.6.

Odilon Redon (French, 1840–1916), Green Plant in an Urn, about 1910–11. Oil on canvas; 33-1⁄2 × 23-5⁄8 in. Musée d’Orsay, Paris, Bequest of Mme ArïRedon in accordance with the wishes of her husband, the artist’s son, 1984, RF 1984 44 © RMN-Grand Palais / Art Resource, NY

Gustave Caillebotte (French, 1848–1894) Yellow Roses in a Vase, 1882. Oil on canvas; 21 × 18-1⁄4 in. Dallas Museum of Art, The Eugene and Margaret McDermott Art Fund, Inc., in honor of Janet Kendall Forsythe, 2010.13.McD.# # #