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Corset Created by Maison Le'oty (French) - 1891   Medium/Material - Silk Displayed at The Metropolitan Museum of Art

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Corset Created by Maison Le'oty (French) - 1891   Medium/Material - Silk Displayed at The Metropolitan Museum of Art

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I selected the Corset because it is not only containing fine details through out the piece of clothing but it is also a piece of history or in this case HERstory. This is a representation of what women wore in the 18th century. It was used to define a women's slender figure or to create an even slimmer figure. This piece of clothing makes me feel very emotional because it was something that was excepted for women to were when meeting a potential husband and to maintain a specific image. I wore one on my wedding and once I removed it, I felt relieved that I didn't have to wear it again. But it is something that is still often used for personal use but to also hold everything together. It is such a statement that gets forgotten in due time. Women endure pain in so many ways, this corset is painful but beautiful at the same time. I chose this piece because the details in the sewing and how much fine needle work went into making this. Being a women who chooses to wear a corset at special events, makes me realize that it is a chose for me to wear one today and knowing that back in the 18th century, it was required that a woman wear one in order to get a husband. The shape the corset makes is astounding and beautiful. I love seeing corsets in person and admire women who are willing to wear one all day, even when they are in pain. Pain is beauty. This is HERstory.

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Untitled (Butterfly Habitat) - Created by - Joseph Cornell (American) 1940 Medium/Material - Box Construction with painted glass                             Displayed at The Art Institute of Chicago

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Untitled (Butterfly Habitat) - Created by - Joseph Cornell (American) 1940 Medium/Material - Box Construction with painted glass                             Displayed at The Art Institute of Chicago

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I selected the Butterfly Habitat is is focusing on the same part of the butterfly but in different parts of the day, the stages of and different types of butterflies. Each butterfly has a core and wings but they are are wired differently. Their wings are a variety of shapes, color, length, width and details. I remember my brothers had to do a bug project in their high school biology glass. They caught a variety of bugs, froze them and displayed them in a shadow box. It was disturbing to see them touching bugs but when one of my brothers caught a Monarch Butterfly, I was amazed and mesmerized by its beauty. I analyzed it and studied its wings, saw its fuzzy body and wondered how many hairs was on its tiny body and what its eyes looked like. The butterfly is such a beautiful insect that has become endangered. Its such a sad thing to watch something so beautiful, slowly slipping away from us. I have a connection with butterflies because I strongly believe that when family member or friends have passed away, I believe they are reincarnated into butterflies and watch over us from a flower. I believe butterflies are spirit holders and just a simply way to make us smile. I find this to be such a beautiful piece because it is simple but naturally astounding. This is something I would love to display in my house.

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Untitled Created by - Brassai (Gyula Halaswz) (French) - 1932                Medium/Material - Gelatin Silver Print                   Displayed at The Art Institute of Chicago

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Untitled Created by - Brassai (Gyula Halaswz) (French) - 1932                Medium/Material - Gelatin Silver Print                   Displayed at The Art Institute of Chicago

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This Untitled piece really stood out to me because it makes me feel like I am standing on that same empty street in the dark, alone. It appears to be very late at night and places are closed. Its super quiet out and assuming it is a cold evening but not quite winter. The woman appears to be walking somewhere but unsure where she may be going. This spoke to me because I was thinking about her safety. Women can not go anywhere alone without having their guard up and being on high alert for potential abductors, predictors or attackers. Seeing her all alone makes me feel very fearful for her. The way she is standing makes it seem like she is very familiar where she is and knows the area very well. What I love most about this piece is how the the lighting is behind her as if there was a spot light on her. If I look closely, I see that the woman is smiling and seems to be having a good time. Its just dark enough to keep the piece more of a mystery. I have always been a huge fan of vintage art work because it is something that is lost in todays art. This would be a place I would love to visit and understand why this location is so important to the artist.

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Gian Lorenzo Bernini
Bacchanal: A Faun Teased by Children
1616-17
Marble
The art shows the perception the artist had, that there are what is called cottony curves and a gentle feel. I chose this because I liked how it told a story. Having previously studied 3D design I relate to this sculpture.

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Edgar Degas
Woman Having Her Hair Combed
1886-88
Pastel on light green wove paper
The purpose of this artwork is to convey to the viewer a moment in real life. It is very realistic. I chose it because it had the beauty aspect yet it also was very expressionistic. I relate to it with my desire to improve the detail I include in my own artwork.

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Winslow Homer
Fishing Boats, Key West
1903
Watercolor and Graphite on Off-White wove paper
The purpose of this artwork is to showcase its use of color and its capturing of something in real life. It points to somewhat modern times. I chose this because it reminds me of riding on a boat in the east coast and that is something I like. I relate to this with how I also like to use watercolors.

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Boats and boating--Equipment and supplies

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Artist: John Bennett
Title: Vase
Date: 1882
Medium: Painted and glazed earthenware

I chose this artwork because I thought it was beautifully crafted and the bright colors drew my attention to it among the other pieces. I believe the flowers painted on the vase and the use of primary colors seek to unify the viewers. I can relate to this artwork because I always enjoy looking at the many vibrant colors of the world.

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2. Art for the sake of expression (philosophical, political, or spiritual/religious)

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2. Art for the sake of expression (philosophical, political, or spiritual/religious)

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Artist: Giovanni di Paolo (Giovanni di Paolo di Grazia)
Title: The Creation of the World and the Expulsion from Paradise
Date: 1445
Medium: Tempera and gold on wood

This artwork shows an image of God creating the world, the sphere represents Earth and the rings are the elements within the planet. On the right side of the painting it shows an angel casting out Adam and Eve from the garden of Paradise. I chose this artwork because it tells a story to and it successfully recreates the events written in the Bible.

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Artist: James Hamilton
Title: Beach Scene
Date: 1865
Medium: Watercolor and gouache on off-white wove paper

I chose this artwork because of the way the artist effectively portrayed this naturalistic scene of the beach. I feel connected to this piece because although the events during the time that this artwork was made are significantly different to events occurring more recently, there are still aspects of the world that remain the same, which give the viewer a sense of peace.

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Author: Anonymous
Title: Jar With Dragon
Year: Early 15th century
Material/Medium: Porcelain painted with cobalt blue under transparent glaze (Jingdezhen ware)

I chose this painting of artwork because I love the colors it haas whcih are blue and white. I feel like blue and white make a great combination and the design of the jar also caught my eyes. I really think this jar is beautiful and really creative because the dragons painted in the jar give it a more creative look. The purpose of this artwork is that it was first flowered in China due to the developmental in the global hisotry of ceramics. Although, it does not have a story but this painting "depicts a powerful dragon undulating through a sky defined by a few sparse clouds." I chose this painting because the design that surrounds the jar caught my eye and also because I like dragons and I think that they are very powerful.

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Valenstein, Suzanne G. A Handbook of Chinese Ceramics. New York: The Metropolitan Museum of Art, 1975, pl. 82.

The Metropolitan Museum of Art: Asia. New York: The Metropolitan Museum of Art, 1987, pp. 88-89, pl. 54.

Suzanne G. Valenstein. A Handbook of Chinese Ceramics. New York: The Metropolitan Museum of Art, 1989, color pl. #21.

Burn, Barbara, ed. Masterpieces of The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1993, p. 181.

Howard, Kathleen, ed. The Metropolitan Museum of Art Guide. 2nd ed., New York: The Metropolitan Museum of Art, 1994, p. 118, fig. 57.

The Metropolitan Museum of Art. The Metropolitan Museum of Art Guide. New York: The Metropolitan Museum of Art, 2012, p. 98.

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Jar with Dragon | China | Ming dynasty (1368-1644), Xuande mark and period (1426-35) | The Metropolitan Museum of Art

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Valenstein, Suzanne G. A Handbook of Chinese Ceramics. New York: The Metropolitan Museum of Art, 1975, pl. 82. The Metropolitan Museum of Art: Asia. New York: The Metropolitan Museum of Art, 1987, pp. 88-89, pl. 54. Suzanne G. Valenstein. A Handbook of Chinese Ceramics. New York: The Metropolitan Museum of Art, 1989, color pl.

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Author: Domenico Theotokopoulos (El Greco)
Title: The Assumption of the Virgin
Year: (1577-1579)
Material/Medium: Oil on Canvas

This beautiful artwork caught my attention because this pianting reminds me of a Catholic church I used to go too and I would see these types of paintings in the windows of the church. Also, another thing that caught my attention is the different colors that are being used in this painting which are combined dark and neutral colors the artist used such as brown, blue, green, red wine, etc. I believe this painting expresses a belief since I am Catholic and I belive in the Virgin Mary (La Rosa de Guadalupe) and I believe in her a lot because she has made miracles to me and my family. It does tells a story because it's a representation of the Trinity and was decorted with paintings of the Adoration of the Sheperds and the Resurrection. The Virgin represents her purity and her empty tomb represent amazement and concern. I chose this painting because I can relate to the religious painting that represents the Virgin and I believe a lot in the Virgin and I am Catholic.

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Related Article

The Assumption of the Virgin

Date:

1577-79

Artist:

El Greco (Doménikos Theotokópoulos)
Greek, active in Spain, 1541-1614

Related Article

About this artwork

This painting was the central element of the altarpiece that was El Greco's ﬁrst major Spanish commission and ﬁrst large public work. After living in Venice and Rome, where he absorbed the late Mannerist style, the Greek-born artist settled in the Spanish city of Toledo in 1577 to work on the high altar of the convent church of Santo Domingo el Antiguo. The church of this ancient Cistercian convent was being rebuilt as the funerary chapel of a pious widow, Doña Maria de Silva. In El Greco's grand de-sign, the Assumption was surmounted by a representation of the Trinity and was ﬂanked by two side altars decorated with paintings of the Adoration of the Shepherds and the Resurrection. The visionary imagery of the Assumption and the Trinity aptly expressed the patron's hope of salvation. Here the Virgin ﬂoats upward, supported on the crescent moon that is symbolic of her purity, while the boldly modeled heads of the crowd of apostles gathered around her empty tomb express amazement and concern. The vigor of El Greco's broad brushstrokes proclaims the conﬁdent achievement of this early work, as does this artist's large signature in Greek, painted as though afﬁxed to the surface of the picture at the lower right.

Status

Currently Off View

Department

Painting and Sculpture of Europe

Artist

Domenico Theotokópoulos, called El Greco

Title

The Assumption of the Virgin

Origin

Spain

Date

1577-1579

Medium

Oil on canvas

Inscriptions

Inscribed on paper at lower right in Greek: (Domenikos Theotokopoulos, Cretan, displayed this in 1577)

Dimensions

403.2 × 211.8 cm (158 3/4 × 83 3/4 in.) Weight with frame: 331 lbs/ 150.139 kg

Credit Line

Gift of Nancy Atwood Sprague in memory of Albert Arnold Sprague

Reference Number

1906.99

IIIF Manifest

https://api.artic.edu/api/v1/artworks/87479/manifest.json

Extended information about this artwork

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Myrtali Acheimastou-Potamianou, ed., From Byzantium to El Greco, trans. David A. Hardy, exh. cat., Byzantine Museum of Athens, and London, Royal Academy of Arts, 1987, p. 191, under 67.

José Álvarez Lopera, De Ceán á Cossío: La fortuna critica del Greco en el siglo XIX, Madrid, 1987, pp. 15, 46, 122, 124, 152, 162.

Kenneth S. Lynn, Hemingway, Cambridge, Mass., 1987, pp. 16, 402-03.

The Art Institute of Chicago, Master Paintings in The Art Institute of Chicago, Chicago, 1988, pp. 8, 23 (ill.).

David Davies, El Greco: Mystery and Illumination, exh. cat., Edinburgh, National Gallery of Scotland, 1989, pp. 24-25, fig. 9.

Suzanne Stratton, La inmaculada concepción en el arte español, Madrid, 1989, pp. 43-44, fig. 37.

Jonathan Brown and Richard George Mann, Spanish Paintings of the Fifteenth through Nineteenth Centuries, Collections of the National Gallery of Art Systematic Catalogue, Washington, D.C., 1990, p. 42.

David Davies, "The Relationship of El Greco's Altarpieces to the Mass of the Roman Rite," in The Altarpiece in the Renaissance, ed. Peter Humfrey and Martin Kemp, Cambridge, 1990, pp. 215, 222, 226, 231, pl. 131.

Mercedes Orihuela, ed., Museo de la Trinidad (bienes desarmortizados), vol. 2 of Inventario general de pinturas, Madrid, Museo del Prado, 1991, p. 108, no. 299 (ill.).

Éva Nyerges, "La Madeleine pénitente du Greco à Budapest," Bulletin du Musée Hongrois des Beaux-Arts 76 (1992), p. 51, fig. 33.

José Álvarez Lopera, El Greco: La obra esencial, Madrid, 1993, pp. 92-96, 243 (ill.), 279, no. 34.

Alice Cooney Frelinghuysen et al., Splendid Legacy: The Havemeyer Collection, exh. cat., New York, Metropolitan Museum of Art, 1993, pp. 17-18, 229, 233, 238, 243, fig. 66.

Neil Harris, Chicago's Dream, a World's Treasure: The Art Institute of Chicago, 1893-1993, ed. Teri J. Edelstein, Chicago, 1993, p. 24 (ill.).

Dario Gamboni, "Arts visuels, espace et territoire," in Le Grand Atlas de I'art, Paris , 1993, pp. 15-16, fig. 6.

Suzanne Stratton, The Immaculate Conception in Spanish Art, Cambridge, 1994, pp. 54-56, fig. 35.

Albert Boime, "The Americanization of El Greco," in El Greco of Crete, ed. Nicos Hadjinicolaou, Iraklion, 1995, pp. 621-22.

Stella Papadaki-Oekland, "El Greco's 'Byzantinism': A Re-evaluation," in El Greco of Crete, pp. 418-20, fig. 11.

Nicos Hadjinicolaou, ed., El Greco in Italy and Italian Art, exh. cat., Athens, National Gallery, 1995, p. 400.

Jon Margolis, "Off-the-Wall Lessons in History: One Man's Unorthodox View of the Art Institute," Chicago Tribune Magazine, Sept. 17, 1995, p. 16.

Patricia Taylor, "Blasphemous Altar: Picasso's Les Demoiselles d'Avignon as an Homage to the Virgin-Whore," Journal for the Association of the Interdisciplinary Study of the Arts 1, 1 (Autumn 1995), pp. 136-37, fig. 3.

Jonathan Brown, "Picasso and the Spanish Tradition of Painting," in Picasso and the Spanish Tradition, ed. Jonathan Brown, New Haven, 1996, pp. 6, 8, 10, figs. 1, 5.

Robert Rosenblum, "The Spanishness of Picasso's Still Lifes," in Picasso and the Spanish Tradition, pp. 75-76.

José Milicua, ed., El Greco: La seva revaloració pel Modernisme català, exh. cat., Barcelona, Museu Nacional d'Art de Catalunya, 1996, p. 106.

Fernando Marías, El Greco, Madrid, 1997, pp. 151-52, figs. 94, 96.

Janis Tomlinson, From El Greco to Goya: Painting in Spain, 1561-1828, New York, 1997, pp. 47-49, fig. 23.

Erica E. Hirschler, "Helping 'Fine Things across the Atlantic': Mary Cassatt and Art Collecting in the United States," in Mary Cassatt: Modern Woman, exh. cat., ed. Judith A. Barter, Art Institute of Chicago, 1998, pp. 204-05, fig. 31.

Richard G. Mann, "El Greco's Altarpieces for the Chapel of Saint Joseph: Devotion, Politics, and Artistic Innovation in Counter-Reformation Toledo," in The Word Made Image: Religion, Art, and Architecture in Spain and Spanish America, 1500-1600, ed. Anne Hawley, Boston, 1998, pp. 48-49, fig. 1.

Steven A. Nash with Robert Rosenblum, Picasso and the War Years, 1937-1945, exh. cat., Fine Arts Museums of San Francisco, 1998, pp. 44-45, fig. 8.

José Manuel Pita Andrade, "El Greco in Spain," in El Greco: Identity and Transformation, exh. cat., ed.

José Álvarez Lopera, Madrid, Museo Thyssen-Bornemisza, 1999, pp. 134-36 (ill.).

Yasunari Kitaura, "El Greco: La antigüedad encontrada a través del Renacimiento italiano," in El Greco in Italy and Italian Art, ed. Nicos Hadjinicolaou, Rethymno, Crete, 1999, pp. 260-61, fig. 2.

Joanne Snow-Smith, "El Greco's Religious Oeuvre in Spain: Reflections of Titian's Venetian Light and Michelangelo's Figura Serpentina," in El Greco in Italy and Italian Art, p. 416, fig. 10.

Sylvia Ferino-Pagden and Fernando Checa Cremades, eds., El Greco, exh. cat., Vienna, Kunsthistorisches Museum, 2001, pp. 28, 30, 36, 105, 142, pl. 9.

Susan Grace Galassi, "The Frick El Grecos," in El Greco: Themes and Variations, ed. Joseph Focarino, exh. cat., New York, Frick Collection, 2001, p. 36.

El Greco, exh. cat., London, National Gallery, and New York, Metropolitan Museum of Art, 2003, pp. 34, 48, 82, 109, 115, 130, 228, fig. 12.

Albert Boime, "El Greco en Nueva York: Su influencia en Jackson Pollock," in Francisco Calvo Serraller, ed., El Greco, Madrid, 2003, p. X.

Fernando Checa, "El Greco y Tiziano," in El Greco, p. 37.

Richard George Mann, "La 'Asunción de la Virgen': Creación y recepción de una obra maestra," in El Greco, pp. 139-73, pl. 15.

Xavier Bray, El Greco, London, 2004, p. 23.

Neil Harris, "The Park in the Museum: The Making of an Icon," in Seurat and the Making of "La Grande Jatte," exh. cat. by Robert L. Herbert, Art Institute of Chicago, 2004, pp. 234 (ill.), 257 n. 8.

Richard G. Mann in Martha Wolff et al., Northern European and Spanish Paintings before 1600 in the Art Institute of Chicago (Chicago, 2008), pp. 54-61, ill.

Al Gury, Color for Painters: A Guide to Traditions and Practice (New York: Watson-Guptill Publications, 2010), p. 85 (ill.).

Marcia B. Hall, The Sacred Image in the Age of Art: Titian, Tintoretto, Barocci, El Greco, Caravaggio (New Haven: Yale University Press, 2011), p. 228, 232 fig. 184, 223-234, 240.

Fernando Marías, El Greco: Life and Work-A New History (London: Thames & Hudson, 2013), pp.132-145, pp. 142 & 144 (ill.)

Leticia Ruiz Gómez, Domenikos Theotokopooulos, El Greco: 1541-1614 (Madrid: Mapfre, 2013), pp. 34-36 (ill.)

Joaquín Melendo Pomareta, El misterio de El Greco y el franciscano Peretti: Papa Sixto V (1585-90) (Carenas: ASPACAR [Asociación en Defensa del Patrimonio de Carenas], 2013), pp. 31-34 (illustrated, but miscredited to the Museo del Prado).

Fernando Marías, "The Greek, Between Invention and History," in El Greco of Toledo: Painter of the Visible and the Invisible (Madrid: Ediciones El Viso, 2014), pp. 30-31, fig. 13.

Fernando Marías, "Convent of Santo Domingo el Antiguo, Toledo," in El Greco of Toledo: Painter of the Visible and the Invisible (Madrid: Ediciones El Viso, 2014), pp. 249-253.

Palma Martínez-Burgos, El Greco (Madrid: Editorial LIBSA, 2014), pp. 14-15, 60-61 (ill.).

Steven F. Ostrow, "Zurbarán's Cartellini: Presence and the Paragone," Art Bulletin 99 (2017), pp. 74, 92 n. 51.

Guillaume Kientz, ed., Greco, exh. cat. (Paris: RMN Editions, 2019), 5 (detail ill.), 7 (detail ill.), 8 (detail ill.), 232.

Keith Christiansen, "Greco en Italie," in Greco, exh. cat., ed. Guillaume Kientz, (Paris: RMN Editions, 2019), 29-30, 36

Richard L. Kagan, "Tolède, Urbs Sacra: Le paintre et ses commanditaires," in Greco, exh. cat., Guillaune Kientz, ed., (Paris: RMN Editions, 2019), 42.

Rebeca J. Long, "Greco peintre de retables: Ambitions et frustrations (1577-1582)," in Greco, exh. cat., Guillaune Kientz, ed., (Paris: RMN Editions, 2019), 138 cat. 35, 139, 141-42 fig. 59 (image of replica), 143-44, 146.

Rebecca J. Long, ed., El Greco: Ambition and Defiance, exh. cat. (Chicago: Art Institute of Chicago, 2020), cover image, 9, 12, 14, 114-115 cat. 14, 193

Keith Christiansen, "El Greco in Italy," in El Greco: Ambition and Defiance, exh. cat., Rebecca J. Long, ed., (Chicago: Art Institute of Chicago, 2020), 18, 26

Rebecca J. Long, "El Greco's Altarpieces: Artistic Ambition and Legal Frustration," in El Greco: Ambition and Defiance, Rebecca J. Long, ed., (Chicago: Art Institute of Chicago, 2020), 42 (replica ill.), 43-44.

Richard L. Kagan, "Urbs sacra: The Demand for Art in El Greco's Toledo," in El Greco: Ambition and Defiance, Rebecca J. Long, ed., (Chicago: Art Institute of Chicago, 2020), 66.

Thomas Connors, "Master Plans: The Art Institute takes a good hard look at the great El Greco," Splash Magazine (March 2020), 13 (color ill.)

Kyle MacMillan, "El Greco on A Grand Scale: Art Institute's extensive exhibition showcases Greek master's expressive power," Chicago Sun Times, March 4, 2020, 25 (color ill).

"El Greco Moves In," Arts & Antiques (June 2020): 24.

Pau, Salons de l'ancien Asile de Pau, Tableaux appartenant aux héritiers de feu Msg. l'Enfant don Sébastien de Bourbon et Bragance, September 1876, cat. 668.

Madrid, Museo Nacional de Pintura y Escultura, Exposición de las obras de Domenico Theotocópouli, llamado El Greco, April 30 - July 31, 1902, cat. 6.

Art Institute of Chicago, A Century of Progress, June 1-November 1, 1933, cat. 169, pl. 25.

Art Institute of Chicago, A Century of Progress, June 1-November 1, 1934, cat. 70.

Paris, Grand Palais, Greco, October 14, 2019-February 10, 2020, cat. 73; Art Institute of Chicago, El Greco: Ambition and Defiance, March 7-June 21, 2020, cat. 14.

Commissioned 1577 by Don Diego de Castilla for the convent church of Santo Domingo el Antiguo, Toledo; installed with other paintings in the main retable by September 1579; sold c. 1830 to the Infante Don Sebastián Gabriel de Borbón y Braganza (died 1875), Madrid and later Pau, France, but confiscated from him by the Spanish government and installed in the Museo Nacional de la Trinidad, Madrid, in 1835 [Lavice 1864 recorded that the Assumption was on display in the Museo Nacional de Pinturas, but this cannot be confirmed]; returned to Don Sebastián in 1861; his estate in custody of the Spanish government, 1875-87 [see María Teresa Baratech Zelama, "La testamentario del Infante Don Sebastián Gabriel de Borbón y Braganza," Archivo español de arte 62 (1989), pp. 372-77 for the status of his estate]; his widow, the Infanta María Cristina de Borbón (died 1902), Aranjuez and Madrid; offered for sale, Madrid, October 1902, no. 2, but bought in, then lent by the Infanta's heirs to the Museo del Prado, Madrid, 1902-04 [see Cossío 1908, p. 594, no. 279]; purchased from them by Galerie Durand-Ruel, Paris, for 100,000 frs. ($17,000), October 1904, with funds provided by Henry O. Havemeyer, New York [see Havemeyer 1961, p. 155]; sold to the Art Institute, July 17, 1906.

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The Assumption of the Virgin | The Art Institute of Chicago

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Show this image Related Article The Assumption of the Virgin 1577-79 El Greco (Doménikos Theotokópoulos)Greek, active in Spain, 1541-1614 Related Article This painting was the central element of the altarpiece that was El Greco's ﬁrst major Spanish commission and ﬁrst large public work.

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Author: Joan Mitchell
Title: City Landscape
Year: 1955
Material/Medium: Oil on linen

I chose this painting because I love Abstract Expressionism art and I find it really fun and a creative way to create art. In this painting I love how Mitchell used different types of colors to create this painting which makes it look more cool and creative too. It looks like the artist "played" with the brushes and used them in a different direction to create different shapes, lines, etc. I believe it does not tell a story, but the title has a relationship between "the painting's network of pigments and the nerves of arteries of an urban space. The authos also mentioned that she creates Abstract Expressionism about landscapes not about her. All in all, I really love Abstract Expressionism like I said and this is a great example of my "art for personal taste" which is why I chose this painting.

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City Landscape

Date:

1955

Artist:

Joan Mitchell
American, 1925-1992

About this artwork

Although influenced by Abstract Expressionist artists in New York in the early 1950s, Joan Mitchell did not prioritize self-expression: her often exuberant abstractions were "about landscape, not about me," she once explained. Mitchell painted large, light-filled canvases animated by loosely applied skeins of bright color-here infused with the energy of a large metropolis.

The title suggests a relationship between the painting's network of pigments and the nerves or arteries of an urban space. The sense of spontaneity conveyed in City Landscape, however, belies Mitchell's methods. Unlike many of her contemporaries, who were dubbed "action painters," Mitchell worked slowly and deliberately. "I paint a little," she said. "Then I sit and look at the painting, sometimes for hours. Eventually, the painting tells me what to do."

On View

Contemporary Art, Gallery 291

Artist

Joan Mitchell

Title

City Landscape

Origin

United States

Date

1955

Medium

Oil on linen

Inscriptions

Signed: recto: "J. Mitchell" (lower right in black paint); not inscribed on verso

Dimensions

203.2 × 203.2 cm (80 × 80 in.), unframed

Credit Line

Gift of Society for Contemporary American Art

Reference Number

1958.193

Copyright

© The Estate of Joan Mitchell

Extended information about this artwork

Walker Art Center, Vanguard 1955: A Painter's Selection of New American Paintings, exh. cat. (Walker Art Center, 1955), n.pag., cat. 39 (ill., incorrectly titled Painting).

Art Institute of Chicago, 18th Annual Society for Contemporary American Art Exhibition, exh. checklist (Society for Contemporary Art, 1958), n.pag., cat. 23.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), p. 315.

Art Institute of Chicago, 26th Annual Exhibition by the Society for Contemporary American Art, exh. cat. (Society for Contemporary Art, 1966), n.pag. (ill.).

Art Institute of Chicago, Art in Illinois, In Honor of the Illinois Sesquicentennial, exh. checklist (Art Institute of Chicago, 1968), p. 8.

Franz Schulze, Society for Contemporary Art The Art Institute of Chicago: 1940-1980, exh. cat. (Art Institute of Chicago, 1980), pp. 24 (ill.); 26; 31 (ill.); 51 (ill.).

Judith E. Bernstock, Joan Mitchell, exh. cat. (Herbert F. Johnson Museum of Art, 1988) pp. 31; 32 (color ill.); 33; 35.

Dennis Adrian, From America's Studio: The School of the Art Institute of Chicago Two Exhibitions of Works by Alumni 125th Annniversary Exhibition, exh. cat. (School of the Art Institute of Chicago, 1992), p. 61.

Michel Waldberg, Joan Mitchell (Éditions de la Différence, 1992), p. 16.

James N. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Hudson Hills Press, 1996), p. 107 (color ill.).

Robert Miller Gallery, Joan Mitchell: Paintings 1956 to 1958, exh. cat. (New York, Robert Miller Gallery, 1996), n.pag.

Klaus Kertess, Joan Mitchell (Harry N. Abrams, 1997), pp. 180, 181.

Hal Fondren, Joan Mitchell: Paintings 1950 to 1955, exh. cat. (Robert Miller Gallery, 1998), n.pag. (color ill.).

Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood, 2nd ed. (Art Institute of Chicago/Hudson Hills Press, 1999), p. 152 (color ill.).

James N. Wood, Society for Contemporary Art: 1940-2000, 60th Anniversary, exh. cat. (Society for Contemporary Art, 2000), pp. 4; 68 (color ill.); 69 (color ill.); 106.

Jane Livingston, Joan Mitchell, exh. cat. (Whitney Museum of American Art, 2002), p. 22; 23; 90; 91, pl. 6 (color ill.); 198.

Jay A. Clarke and Joanna E. Ziegler, eds., The Spiritual Landscapes of Adrienne Farb: 1980-2006, with contributions by Christopher A. Dustin, Roger Hankins, Erin Murray, and Charlotte Nalle Eyerman, exh. cat. (Iris and B. Gerald Cantor Art Gallery, College of the Holy Cross, 2006), pp. 43, fig 3 (color ill.); 44.

Sister Wendy Beckett, "City Landscape," Sister Wendy's American Art Collection, accessed May 3, 2016 (color ill.) http://pbs.org/wgbh/sisterwendy/works/cit.html.

Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James Cuno, 3rd ed. (Art Institute of Chicago/Yale University Press, 2009), p. 152 (color ill.).

Art Institute of Chicago, The Art Institute of Chicago: The Essential Guide, 3rd ed. (Art Institute of Chicago, 2009), n.pag. (color ill.).

Art Institute of Chicago, The Art Institute of Chicago: The Essential Guide, 4th ed. (Art Institute of Chicago, 2013), p. 134 (color ill.).

Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by Douglas Druick, 4th ed. (Art Institute of Chicago/Yale University Press, 2013) p. 152 (color ill.).

Minneapolis, Walker Art Center, Vanguard 1955: A Painter's Selection of New American Paintings, Oct. 23-Dec. 5, 1955, cat. 39 (incorrectly titled Painting).

Art Institute of Chicago, 18th Annual Society for Contemporary American Art Exhibition, May 8-June 8, 1958, cat. 23.

Art Institute of Chicago, 26th Annual Exhibition by the Society for Contemporary American Art, Apr. 8-May 10, 1966, no cat. no.

Art Institute of Chicago, Art in Illinois, In Honor of the Illinois Sesquicentennial, June 15-Sept. 8, 1968, no cat. no.

Washington, D. C., Corcoran Gallery of Art, Joan Mitchell, Feb. 27-May 1, 1988, no cat. no.; San Francisco Museum of Modern Art, May 26-July 17, 1988; Buffalo, Albright-Knox Art Gallery, Sept. 17-Nov. 6, 1988; La Jolla Museum of Contemporary Art, Dec. 2, 1988-Jan. 29, 1989; Ithaca, Herbert F. Johnson Museum of Art, Cornell University, Feb. 26-Apr. 23, 1989.

Art Institute of Chicago, Twelve Contemporary Masters, May 10-June 14, 1992, no cat. no.

New York, Whitney Museum of American Art, The Paintings of Joan Mitchell, June 20-Sept. 29, 2002; cat. 6; Birmingham Museum of Art, June 27-Aug. 31, 2003; Modern Art Museum of Fort Worth, Sept. 21, 2003-Jan. 7, 2004; Des Moines Art Center, Jan. 31-Apr. 25, 2004, (New York, Birmingham, and Fort Worth only).

Stable Gallery, New York, by 1958; sold to the Art Institute, 1958.

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City Landscape | The Art Institute of Chicago

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Show this image City Landscape 1955 Joan MitchellAmerican, 1925-1992 Although influenced by Abstract Expressionist artists in New York in the early 1950s, Joan Mitchell did not prioritize self-expression: her often exuberant abstractions were "about landscape, not about me," she once explained.

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Crown of the Andes
Ca. 1660 & ca. 1770
Medium- Gold & Emeralds
The crown was made in adoration for the Virgin Mary and small things like flowers designed in the crown represent her purity. This is very important to those of Latino/ South American culture an is originated in Popayan, Colombia. I chose this art because I am Colombia and was raised around religious practices and found this crown to be stunning in the way it looks royal, expensive, and timeless.

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The Crucifixion
1340s
Pietro Lorenzetti
Medium- Tempera and gold leaf on wood
This painting of a very infamous bible story came to life by the artist and the details of Christ being speared on the side and bleeding caught my attention. For it's time, this art piece connected those of the Christian religion to truly see the sacrifice Jesus made for our sins, and I think the message is truly beautiful.

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Rinaldo and Armida in her Garden
Italian- 1742/45
Giovanni Battista Tiepolo
Medium- Oil on canvas
The purpose of this piece was to depict the crusader Rinaldo being abducted by the sorceress Armida and being carried to her magical garden. What stood out to me was the beauty in the angels and garden itself painting a scene of serenity. The magic mirror also stood out to me because I would not have known it was magic without the backstory. I love how something that looks innocent and calm can have such a fascination back story to tell through art.

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created by Katsushika Hokusai sometime between 1829–1833 on a woodblock

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created by Michelangelo in 1512 using a technique called Fresco

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Created by Vincent van Gogh sometime in 1853–1890 oil on canvas painting

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Title: The Immaculate Conception
Artist: Guido Reni
Year created: 1627
Material/medium: Oil on canvas

This is an image I chose for beauty’s sake because of how beautiful the oil canvas looked. It has very nice vibrant colors and I loved the two little angels on the side of the women. I’m not sure if this is a “belief” but this reminded me a lot of my Rosa de Guadalupe, growing up as a catholic we were taught about Rosa and told by all my family it’s always good to have at least one image of her handing on your wall for protection. I chose this image among all others because it stood out to me the most with the colors and how beautiful it looked.

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Title: The Crucifixion
Artist: Master of the Codex of Saint George
Year: 1330-1335
Material/medium: Tempera on wood, gold ground

I chose this image as the sake of expression because it reminded me a lot of the movie Jesus of when they nail is hands and feet and whip him. Although this isn’t from the movie I decided to add this because of the expressions of the people, most of the women looked sad and the men didn’t really have any expression. I chose this among all others because I wanted something that reminded me of what I have seen in the past and years ago watching the Jesus movie made me cry so much and it just brought back memories to this sad occasion.

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Title: Water lilies
Artist: Claude Monet
Date: 1906
Material/ medium: Oil on canvas

I chose this oil image for art of personal taste because honestly I just liked the title on how simple it sounded. This title kind of just described the oil painting and I just loved it. It doesn’t have any emotion or belief nor a story but I thought it was nice and simple. I chose this among the others because this is the kind of art that I like to see. Anything that has a beach, sun, clouds, the earth or water I love.

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1. Artist's name: Vincennes Manufactory -  Jean-Claude Duplessis.

2. Title of artwork:  Wine-bottle cooler (seau à bouteille) from the Louis XV service.

3. Year it was created: 1754

4. Material/Medium: Soft-paste porcelain decorated in polychrome enamels and gold.

This work is for the Louis XV wine cooler; its primary color is transparent blue Celeste. The area not covered by the background color is a gilded frame; the front is composed of painting and fruit of a group flower, very exquisite. I think it had the belief that it was perfect because it was dedicated to royalty, so it had to be perfect. I chose this piece to be made for beauty only because it is dedicated to the royal family, so it must be exquisite and perfect. It was born for pure beauty.

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1. Artist's name: Attributed to the Eretria Painter

2. Title of artwork: Terracotta lekythos (oil flask)

3. Year it was created: ca. 420 B.C.

4. Material/Medium: Terracotta; red-figure, white-ground

The work has three zones, each with a mythological theme. The middle area has armor brought by Thetis and her sister Nereids to replace the scene brought by Achilles to Patroklos. The lower area depicts the Greeks and Amazons in battle with These Seus and Hippolyte. The top scene is interpreted as the abduction of Persephone, but it is more likely to show a god (or goddess) leaving to perform the divine intervention.
I think this is a work of art made for a religious myth because it's made up of three fairy tales.

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1. Artist's name: Gong Xian

2. Title of artwork: Landscapes with Poems

3. Year it was created: 1688

4. Material/Medium: Album of sixteen paintings; ink on paper

This is a traditional Chinese landscape ink painting. In this painting, gong xian compares his favorite haunted and immortals' dwellings in and around the former Ming capital Nanjing from an album. It adds a poem to complement his image of a secluded residence. This represents a feeling of seclusion in the mountains.

I choose it as an art of personal taste because traditional Chinese ink painting is a very subjective art, and each painter will use different painting methods to express their ideas.

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1. Edouard Manet
2. Boating
3. 1874
4.Oil on Canvas
The purpose/aim of this painting was to show a nice peaceful moment two individuals had on a boat. In my eyes what makes it beautiful is the nice bright and uplifting colors used. It evokes an emotion of tranquillity and peacefulness. I feel as if this painting could be used to unify and connect us, and makes us realize we have to appreciate the beautiful moments in our life. The painting does not really tell a story, because we do not know much about the people. I chose it because it really stood out to me and the colors of their outfits and the blue water are so vibrant. I relate to this artwork, because I have spent a lot of time on boats, and have always enjoyed myself when I do.

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Boats and boating--Equipment and supplies

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Artist: Master of the Codex of Saint George
Title: The Crucifixion
Date: ca. 1330-35
Medium: Tempera on wood, gold ground

The purpose/aim of this painting is to portray the crucifixion of Jesus Christ. This painting is sad, however beautiful in so many ways.    The Gold within this painting makes it so special and pretty. Also the women's garments and halos are so pretty and shows how holy these people are. These peoples sorrow over Jesus's death shows their faith and trust in God. It serves to unify the brothers and sisters in Christ and show that we're all in this together. It tells the story of how much Jesus meant to these people, and how hurt they were by his passing. I chose this piece, because it was so beautiful and portrays one of the most important events in the Christian faith. I relate to this artwork, because I am a Christian and have always read about this and seen different versions of this painting.

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Major Acquisitions line, Coronation Stone of Mfotecuhzoma (Stone of the five suns)
The purpose of this artwork was to commemorate the reign of Emperor Motecuhzoma 2. Cycle of birth death, and renewal as he is the sole heir. It is in the city of Mexico City and I found that it was close to home. I thought it interesting as the way they chose to symbolize history and on what. I think it's amazing how art can be so unknown and yet hold such depth meaning. It is a unifying force for those of Aztec ancestry and interested in knowing their history. I also think it's fascinating to those that love to see the outcome of their art pieces.

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Bartolomeo Manfredi, Cupid Chastised, 1613, Oil on Canvas

I chose this image because I thought it ironic and humorous to see cupid being whipped. I have myself occasionally thought if he gets in trouble for the relationships he causes (if he causes them) and what that would look like. I found it refreshing to see that goddesses and angels are so out to this world but realistic as portrayed in this image. I think it serves to unify and disconnect us. For one, the ideal of having powerful entities out there responsible for our love affairs is a weight of your shoulder as hope remains. Meanwhile, it could also be fuel to a fire caused by a lost love. I think it's funny in a serious way, a little devilish of Cupid. I relate because I like to have my imagination work and I like to believe in these sorts of things.

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Pierre Bonnard, Earthly paradise, 1916-20, Oil on canvas

I chose this image because it is beauty at it's finest. I ponder on things like this where the grass and tress are at the height of their color and the animals are present with life. I see these things and it reminds me of paradise. Sometimes I look as the woman, Eve, is and quietly listen to what is around me. What was here before me, it is quite beautiful. I find it a motivational image as the unity it carries between mankind and what is holy. Between earth and man. It tells a million stories and most we know but it also serves as a beacon of hope for what could have been but wasn't and could still be.

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1. Designer: Designed by Jean Brandely (French, active 1855–67)
Maker: Woodwork by Charles-Guillaume Diehl (French, 1811–ca. 1885)
Artist: Mounts and large central plaque by Emmanuel Frémiet (French, Paris 1824–1910 Paris)
2. This piece is untitled
3. This piece was created in 1867
4. Medium: Oak veneered with cedar, walnut, ebony and ivory; silvered-bronze mounts
This beautiful cabinet is masterfully done top to bottom. The viewers can see all of the persist detail involved to complete this mater piece. The inlay boarder around the focal point and the silver-bronze plaque caught my eye. The central plaque was created by sculptor Emmanuel Frémiet to commemorates the military triumph of Merovech (d. 458), leader of the Salian Franks, over Attila and his marauding Huns at the Battle of the Catalaunian Field in 451. I chose this piece because the amount of high skill and coordination between wood worker, scalper and designer required to achieve this cabinet is amazing. I also chose this because of the because I work with wood for a living as a carpenter. Hard wood like oak is not easy to work with. It is mind blowing to think of how much time it would require to make a piece like this fine cabinet by hand.

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Artist: Pierre-Auguste Renoir
Title: Luncheon of the Boating Party
Date: 1880
Medium: Oil Paint

The purpose of this artwork was to show a nice leisurely time at a luncheon and to show the different styles of the 1800's. In my eyes what makes it beautiful is how everyone is interacting together, and enjoying themselves to the fullest. The emotion that is expressed in this painting is happiness. Everyone in the photo radiates joy which makes the viewer feel that emotion. This painting tells the story of a group of friends reconnecting and sharing their life experiences. I chose this photo, and relate to it because I have always enjoyed it, and my Grandma always had it in her kitchen.

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Artist: Guido Reni
Tittle: The Immaculate Conception
Year:  1627
Medium oil canvas
I chose this artpiece for beauty of sakes, however it can also fit in the category  beauty of expression with religion. What makes this image beautiful in my eye's are the colors. The colors are vibrant and makes me feel peace. I also love how the clouds some how have a three dimension of a child's face. Adding on, I believe the story is the woman who is an angel and the two little angels are looking at her like if they praising something they look so mellow and calm. Which makes me enjoy this beautiful oil canvas. It also brings memories to images you will see at a church or a religious home.

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Guido Reni. Letter to Antonio Galeazzo Fibbia. August 19, 1627 [published in Giovanni Bottari and Stefano Ticozzi, eds. "Raccolta di lettere sulla pittura, scultura ed architettura," 8 vols., Milan, 1822-25, vol. 1, 1822, pp. 296-97], writes that he has accepted the commission for a large painting [this work] from the ambassador of Spain.

Document. December 31, 1627 [Archivio Barberini, Biblioteca Vaticana; published in Marilyn Aronberg Lavin, "Seventeenth-Century Barberini Documents and Inventories of Art," New York, 1975, p. 30, no. 255], records arrangements made by the Barberini to send porters to Bologna to bring the painting back to Rome.

Document. December 1627 [Archivio Barberini, Biblioteca Vaticana; published in Marilyn Aronberg Lavin, "Seventeenth-Century Barberini Documents and Inventories of Art," New York, 1975, p. 30, no. 256].

Document. January 1, 1628 [Archivio Barberini, Biblioteca Vaticana; published in Marilyn Aronberg Lavin, "Seventeenth-Century Barberini Documents and Inventories of Art," New York, 1975, p. 30, no. 258].

Document. April 1629 [Archivio Barberini, Biblioteca Vaticana; published in Marilyn Aronberg Lavin, "Seventeenth-Century Barberini Documents and Inventories of Art," New York, 1975, p. 30, no. 260], records the payment to Carlo Ciliani for customs tax on this painting.

Gio[vanni]. Pietro Bellori. Le vite de' pittori, scultori e architetti moderni. Rome, 1672, p. 23v, notes that the Spanish ambassador had commissioned for the Infanta a painting of the Immaculate Conception by Reni; relates that the ambassador's constant visits and impatience for the work to be completed resulted in Reni sending the picture to Bologna, from where it was returned to Rome only after the Pope's intervention.

Carlo Cesare Malvasia. Felsina pittrice: vite de' pittori bolognesi. Bologna, 1678, vol. 2, p. 37 [1841 ed., Bologna, ed. Giampietro Zanotti, vol. 2, p. 27; 1971 ed., Bologna, ed. Marcella Brascaglia, pp. 368-69].

[Jean Baptiste Pierre] LeBrun. Recueil de gravures au trait, à l'eau forte, et ombrées, d'après un choix de tableaux de toutes les écoles, recueillis dans un voyage fait en Espagne, au Midi de la France et en Italie, dans les années 1807 et 1808. Paris, 1809.

A Catalogue of the Very Distinguished Collection of Italian, French, Flemish, Dutch, and English Pictures, of the Finest Class, of George Watson Taylor, Esq. Christie's, London. June 13-14, 1823, p. 8, no. 65, states that it comes from the Seville cathedral.

W[illiam]. Buchanan. Memoirs of Painting, with a Chronological History of the Importation of Pictures by the Great Masters into England since the French Revolution. London, 1824, vol. 2, p. 193, no. 15, lists it among works imported to England by Delahante; states that it was originally in Spain, that it came from the collection of General Sebastiani, and that Delahante sold it to Taylor.

Mrs. Jameson. Companion to the Most Celebrated Private Galleries of Art in London. London, 1844, p. 108, no. 53, as in the Bridgewater Gallery; points out that although it is known as the Assumption of the Virgin, the actual subject is the Immaculate Conception; states that it was bought by Lord F. Egerton, and that "it was formerly in the collection of the Prince of Peace, and obtained from Spain by the Chevalier Bourke, who sold it to Mr. Watson Taylor".

Catalogue of the Bridgewater Collection of Pictures, Belonging to the Earl of Ellesmere, at Bridgewater House, Cleveland Square, St. James's. 3rd ed. [London], 1851, pp. 18-19, no. 117, as "The Assumption, or the Immaculate Conception of the Virgin, attended by Angels"; marked as added to the collection by the Earl of Ellesmere.

George Stanley, ed. A Biographical and Critical Dictionary of Painters and Engravers.. By Michael Bryan. new ed. London, 1853, p. 629, calls it "the perfection of the ideal in painting".

Catalogue of the Bridgewater Collection of Pictures, Belonging to the Earl of Ellesmere, at Bridgewater House, Cleveland Square, St. James's. 5th ed. [London], 1856, pp. 20-21, no. 117, as "The Assumption, or the Immaculate Conception"; states that it came from the Seville cathedral, was imported to France by Sebastiani, who sold it to Delahante, who sold it to Taylor, at whose sale in 1832 it was bought by Smith; notes that it has recently been engraved by W. H. Watt.

W. Burger [Théophile Thoré]. Trésors d'art exposés à Manchester en 1857. Paris, 1857, p. 102 [reprinted as "Trésors d'art en Angleterre," Brussels, 1860, with same pagination].

G[eorge]. S[charf]. A Handbook to the Paintings by Ancient Masters in the Art Treasures Exhibition. London, 1857, p. 70, calls it "The Virgin in Glory" and "a weak specimen of the master at his weakest period".

Mrs. Jameson. Legends of the Madonna. London, 1864, pp. 48, 327, lists it with three other paintings of the Immaculate Conception ascribed to Reni as among the earliest accredited pictures of the subject; states that it was painted for the Infanta of Spain and places it chronologically before the picture at Forlì [see Notes].

Charles Blanc and Henri Delaborde. Histoire des peintres de toutes les écoles: École bolonaise. Paris, 1877, p. 16.

George Redford. Art Sales. London, 1888, vol. 2, p. 235, records the purchase price at the 1832 sale as £1,102.12.

Catalogue of the Bridgewater and Ellesmere Collections of Pictures at Bridgewater House, Cleveland Square, St. James's, London. [London?], 1897, p. 21, no. 117.

Mrs. Steuart Erskine. "The Bridgewater and Ellesmere Collections in Bridgewater House." Connoisseur 6 (May 1903), p. 10, calls it "most painfully coloured" and "said to have been used as a banner in processions".

Catalogue of the Bridgewater and Ellesmere Collections of Pictures and Statuary at Bridgewater House, Cleveland Square, St. James's, London. [London], 1907, p. 23, no. 117.

Vincenzo Costantini. Guido Reni. Milan, 1928, p. 181, mentions a "Beata Vergine" commissioned by the Spanish ambassador.

Walter Friedlaender. "Der antimanieristische Stil um 1590 und sein Verhältnis zum Übersinnlichen." Vorträge der Bibliothek Warburg (1928-29), p. 222 n. 2, mentions it as having been made for the Spanish Infanta, and notes that it probably had a direct influence on Spanish painting.

Otto Kurz. "Guido Reni." Jahrbuch der kunsthistorischen Sammlungen in Wien, n.s., 11 (1937), p. 218, identifies this picture, then in Bridgewater House, as the work Reni painted for the Spanish Infanta.

Giuseppe Fiocco. "Una pala ritrovata di Guido Reni." Arte antica e moderna no. 4 (October-December 1958), pp. 388-89, pl. 151 and ill. opp. p. 388 (color), identifies it with the picture described by Malvasia in 1678 [see Ref.], commissioned by the Spanish ambassador; dates it about 1625, before the Forlì painting.

"Bibliografía." Archivo español de arte 32 (October-December 1959), p. 350, pl. 1, briefly reviews Ref. Fiocco 1958.

Alfonso E. Pérez Sánchez. Pintura italiana del s. XVII en España. PhD diss., Universidad de Madrid. Madrid, 1965, pp. 169, 175.

D. Stephen Pepper. "Guido Reni's Early Drawing Style." Master Drawings 6 (Winter 1968), p. 366.

D. Stephen Pepper. "A Rediscovered Painting by Guido Reni." Apollo 90 (September 1969), pp. 208, 210-11, 213 nn. 4, 10, fig. 3, relates the light palette to that used in Charity (MMA, 1974.348), which he dates slightly later.

Howard Hibbard. "Guido Reni's Painting of the Immaculate Conception." Metropolitan Museum of Art Bulletin 28 (Summer 1969), pp. 18-32, ill., dates it 1627; discusses the iconography of the Immaculate Conception, comparing the MMA painting with others of the same subject; dates the version in Forlì about 1623 and states that the related Assumption in Castelfranco Emilia was completed in 1627; suggests that the MMA picture may have been influenced by Bernini's Saint Bibiana (Santa Bibiana, Rome) of 1624-26 and also notes the influence of the MMA work on Algardi's stucco Mary Magdalen (San Silvestro al Quirinale, Rome) of about 1628.

D. Stephen Pepper. "Guido Reni's Early Style: His Activity in Bologna, 1595-1601." Burlington Magazine 111 (August 1969), p. 475 n. 20.

Edi Baccheschi in L'opera completa di Guido Reni. Milan, 1971, p. 104, no. 135, ill.

Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 173, 306, 609.

Frank Herrmann. The English as Collectors: A Documentary Chrestomathy. New York, 1972, fig. 50, reproduces a photograph showing it hanging in the picture gallery at Bridgewater House.

D. Stephen Pepper. "Guido Reni's 'Il Diamante': A New Masterpiece for Toledo." Burlington Magazine 115 (October 1973), p. 633.

A. Pigler. Barockthemen: Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts. 2nd ed. [first ed. 1956]. Budapest, 1974, vol. 1, p. 508.

Evelina Borea, ed. Le vite de' pittori, scultori e architetti moderni.. By Giovanni Pietro Bellori. Turin, 1976, p. 526 n. 1.

Diego Angulo Iñiguez. "Varias pinturas sevillanas: Asunción de Tristán." Archivo español de arte 56 (April-June 1983), pp. 161, 163, fig. 13, attributes an Immaculate Conception (fig. 10) on the art market in London to Zurbarán and comments on its similarity to the MMA picture; reproduces the copy (fig. 14) of the MMA painting now hanging in the Seville cathedral.

D. Stephen Pepper. Guido Reni: A Complete Catalogue of his Works with an Introductory Text. New York, 1984, pp. 31, 256-57, 261, no. 114, pl. 139, states mistakenly that it is said to have come from the Toledo cathedral; dates the Castelfranco Emilia Assumption slightly earlier (1626-27) and the Forlì Immaculate Conception slightly later (1628-29).

Ursula Schlegel. "Bernini und Guido Reni." Jahrbuch der Berliner Museen 27 (1985), p. 140.

Brigitte Kühn. "Guido Renis Vorzeichnung für die Immaculata Conceptio in Forlì." Römische historische Mitteilungen 27 (1985), p. 434.

Wolfgang Prohaska in Guido Reni und Europa: Ruhm und Nachruhm. Ed. Sybille Ebert-Schifferer, Andrea Emiliani, and Erich Schleier. Exh. cat., Schirn Kunsthalle Frankfurt. Frankfurt, 1988, p. 665, believes it influenced Ribera's painting of the same subject of 1637 (Graf Harrach'sche family collection, Rohrau).

Angelo Mazza et al. in Guido Reni, 1575-1642. Exh. cat., Pinacoteca Nazionale di Bologna. Bologna, 1988, pp. LXXXVI, 122-23, 202, no. 50, ill. [English ed., Los Angeles, pp. 254-55, 259 n. 10, pp. 264-66, no. 41, ill.].

Sybille Ebert-Schifferer et al. in Guido Reni und Europa: Ruhm und Nachruhm. Exh. cat., Schirn Kunsthalle Frankfurt. Frankfurt, 1988, pp. 17-18, 28, 30, 175-78, 197, 200, 702, 718, no. A20, ill. (color).

Michel Feuillet. "Contribution à l'histoire de l'Assomption des Philippins de Pérouse de Guido Reni: Le retour à la lumière d'un chef-d'oeuvre du musée des Beaux-Arts." Bulletin des musées et monuments lyonnais no. 2 (1988), p. 14, fig. 8.

Robert B. Simon with Frank Dabell in Important Old Master Paintings: Devotion and Delight. Exh. cat., Piero Corsini, Inc. New York, Fall 1989, p. 80, fig. 3 (detail).

Richard E. Spear. "Re-viewing the 'Divine' Guido." Burlington Magazine 131 (May 1989), p. 372, under no. 46.

Claudio Strinati in Opus Sacrum. Ed. Józef Grabski. Exh. cat., Royal Castle, Warsaw. Vienna, 1990, pp. 228-29, figs. 3, 5 (overall and detail).

Alfonso E. Pérez Sánchez in Jusepe de Ribera, 1591-1652. Exh. cat., Castel Sant'Elmo et al. Naples, 1992, p. 284, states that it seems to have influenced Ribera's painting of the same subject dated 1635 (Chiesa del Convento delle Agustinas Recoletas di Monterrey, Salamanca).

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 117, ill.

Wolfgang Prohaska. "I rapporti di Ribera con la pittura fiamminga in area mediterranea: Il caso Van Dyck." Scritti in memoria di Raffaello Causa: Saggi e documenti per la storia dell'arte, 1994-1995. Naples, 1996, p. 214.

Richard E. Spear in The Dictionary of Art. Ed. Jane Turner. Vol. 26, New York, 1996, p. 197, fig. 2.

Richard E. Spear. The "Divine" Guido: Religion, Sex, Money and Art in the World of Guido Reni. New Haven, 1997, pp. 18, 21, 111, 140-42, 293, 320, 355 nn. 60, 62, p. 357 n. 84, colorpls. 53-55 (overall and details).

Anthony Colantuono. Guido Reni's "Abduction of Helen": The Politics and Rhetoric of Painting in Seventeenth-Century Europe. Cambridge, 1997, pp. 17-20, 22, 54, 109, 248 n. 26, p. 249 n. 39, fig. 7, states that the Spanish ambassador, whom he identifies as Iñigo Vélez de Guevara y Tasís, 5th Count of Oñate, had commissioned a Rape of Helen (Musée du Louvre, Paris) from Reni as well as the Immaculate Conception, and that Reni's letter to Fibbia of August 19, 1627 [see Ref.] could refer to either work, although most probably to the latter picture; recounts in detail the altercations between Reni and Oñate; notes that the commission of the Immaculate Conception was related to the Spanish desire for the pope to define this doctrine as dogma.

Gérard-Julien Salvy. Guido Reni. Paris, 2001, p. 152, no. 121, ill.

Gabriele Wimböck. Guido Reni (1575-1642): Funktion und Wirkung des religiösen Bildes. PhD diss., Universität München. Regensburg, 2002, pp. 230-33, 244, 247, 251, 255, 258, colorpl. IX.

Nicola Spinosa. Ribera. Naples, 2003, p. 242 n. 121, ill. p. 204.

Enrique Valdivieso. "Presencia e influencia de las obras foráneas en el devenir del barroco pictórico sevillano." El arte foráneo en España: Presencia e influencia. Ed. Miguel Cabañas Bravo. Madrid, 2005, pp. 202-3, ill.

Elizabeth A. Pergam. "From Manchester to Manhattan: The Transatlantic Art Trade After 1857." Bulletin of the John Rylands Library 87, no. 2 (2005), pp. 86, 91.

Valentina Maderna in Brera mai vista, una mistica visione: l'"Immacolata Concezione" di Bernardo Cavallino. Exh. cat., Pinacoteca di Brera. Milan, 2008, p. 20, agrees with Pérez Sánchez [see Ref. 1992] that this work influenced Ribera's painting of the same subject in Salamanca.

Keith Christiansen in Philippe de Montebello and The Metropolitan Museum of Art, 1977-2008. New York, 2009, p. 36.

Viviana Farina. Al sole e all'ombra di Ribera: questioni di pittura e disegno a Napoli nella prima metà del Seicento. Vol. 1, Castellammare di Stabia, 2014, pp. 91, 228 n. 210, fig. 105 (color).

Jesse M. Locker. Artemisia Gentileschi: The Language of Painting. New Haven, 2015, p. 36, fig. 1.19 (color).

Keith Christiansen. "La création tardive d'une collection de peintures baroques au Metropolitan Museum of Art / Creating a Baroque Collection at the Metropolitan Late in the Game." Aux origines d'un goût: la peinture baroque aux États-Unis / Creating the Taste for Baroque Painting in America. Paris, 2015, pp. 64, 70, fig. 2 (color, gallery installation).

Andrea Bayer. "Better Late than Never: Collecting Baroque Painting at The Metropolitan Museum of Art." Buying Baroque: Italian Seventeenth-Century Paintings Come to America. Ed. Edgar Peters Bowron. University Park, Pa., 2017, pp. 131, 152 n. 11.

Old Masters. Christie's, New York. October 31, 2017, unpaginated, under no. 26.

Karen Wilkin. "'A New Look at Old Masters' Review: In a New Light, Literally." Wall Street Journal (January 9, 2021) [https://www.wsj.com/articles/a-new-look-at-old-masters-review-in-a-new-light-literally-11610193600].

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Guido Reni | The Immaculate Conception | The Metropolitan Museum of Art

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Guido Reni. Letter to Antonio Galeazzo Fibbia. August 19, 1627 [published in Giovanni Bottari and Stefano Ticozzi, eds. "Raccolta di lettere sulla pittura, scultura ed architettura," 8 vols., Milan, 1822-25, vol. 1, 1822, pp. 296-97], writes that he has accepted the commission for a large painting [this work] from the ambassador of Spain.

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Meetinghouse Hill, Roxbury, Massachusettes
John Ritto Penniman
1799
Oil on canvas
What makes this artwork beautiful in my eyes is how is beautifully drawn it is. It is also very nice to look at. It gives me a good emotion, kind of like making me want to take a trip to Massachusetts. This artwork does not seem to have a story with it. I chose it among other ones in its category because i felt like it looked more better than the others.

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Artist: Paul Gauguin
Tittle: La Orana Maria (Hail  Mary)
Year: 1891
Medium oil on canvas
I chose this art because it stood out to me that it involved a different culture then my own. This art image fits into the catergory of religion. In were the polynesian religious beliefs in the hail mary. I enjoy oberving this oil on canvas painting because it has beautiful colors and it is very well detailed. I like how the two dancers are dancing in there culutral clothing, while the woman has a child on her neck. The background makes it beautiful in my eyes with the trees, it shows sand and fruits. Which I love when paintings have more then one objects. It shares their belief in hail mary, which I believe thats why they are dancing. It shows unity into there families and friends because they are sharing and showing their religion.

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Paul Gauguin. Letter to de Monfreid. March 11, 1892 [published in "Lettres de Gauguin à Daniel de Monfreid," A. Joly-Segalen, ed., 1950, p. 54], describes this work, implying that it is the first finished painting that he has completed in Tahiti, as distinct from sketches and studies, adding that he is rather happy with it; includes a sketch of the work in a horizontal format (ill. between pp. 80 and 81).

Alfred Jarry. Ia Orana Maria. 1893/94 [published in exh. cat. "Gauguin et le groupe de Pont-Aven," Musée des Beaux-Arts de Quimper, 1950, pp. 25, 61].

Charles Morice. Exposition d'oeuvres récentes de Paul Gauguin. Exh. cat., Durand-Ruel. Paris, November 1893, pp. 14-15.

"Opinions d'artiste." L'escarmouche (November 19, 1893), p. 3 [see Stuckey 1988, p. 246], calls it a Tahitian Bastien-Lepage.

Thadée Natanson. "Expositions: Oeuvres récentes de Paul Gauguin." La revue blanche 5 (December 1893), p. 420, describes the painting at Gauguin's 1893 exhibition at the Galeries Durand-Ruel in Paris.

Paul Gauguin. Letter. ?February 1895, unpaginated [see Ref. Autograph Letters and Documents 1965, which includes a reproduction of the first page], remarks that a reproduction of it appeared in "Le figaro illustré" [apparently recently].

Paul Gauguin. Letter to Georges-Daniel de Monfreid. June 1899 [published in "Lettres de Gauguin à Daniel de Monfreid," A. Segalen, ed., 1950, p. 145], mentions that he would like to have "Ia Orana Maria" shown at Vollard's gallery in 1900-at the same time as the exhibition of the Symbolists, Pointillists, and Rose Croix-if Manzi would agree to lend it.

Paul Gauguin. Letter to Georges-Daniel de Monfreid. April 1900 [published in "Lettres de Gauguin à Daniel de Monfreid," A. Joly-Segalen, ed., 1950, p. 158], mentions that he would like to have it exhibited at Vollard's gallery during the Exposition Universelle-one of several good older pictures to be shown with his recent work.

Paul Gauguin. Letter to Ambrose Vollard. September 1900 [reprinted in "Letters to Ambroise Vollard & André Fontainas," ed. John Rewald, San Francisco, 1943, p. 39], remarks that he sold it to Manzi for 2,000 francs.

Paul Gauguin and Charles Morice. "Noa Noa". Paris, 19[??], p. 19.

Charles Morice. Paul Gauguin. first ed. [new ed. 1920]. Paris, 1919, p. 171 n. 1, pp. 183, 201.

Hamilton Easter Field. "Art New and Old in Current Shows." Arts & Decoration 12 (December 15, 1919), p. 109.

"French, English, and American Paintings." Metropolitan Museum of Art Bulletin 15 (September 1920), p. 208.

Pola Gauguin. "Paul Gauguin." Kunst og Kultur 9 (1921), p. 248.

Achille Delaroche. "Concerning the Painter Paul Gauguin, from an Aesthetic Point of View." Paul Gauguin's Intimate Journals. New York, 1921, p. 41.

Charles Chassé. Gauguin et le groupe de Pont-Aven. Paris, 1921, pp. 50-52, remarks on the resemblance of the head of the Virgin to one by de Haan.

A Committee of Citizens and Supporters of the Museum. Protest against the Present Exhibition of Degenerate "Modernistic" Works in the Metropolitan Museum of Art. [New York], September 1921 [reprinted in Ref. Rewald 1989], include it in a list of paintings that are "simply pathological in conception, drawing, perspective and color".

Royal Cortissoz. "Modern Unrest in French Art: Some Leading Types Shown At the Metropolitan." New York Tribune (May 8, 1921), p. 7.

Stephen Bourgeois. "A Notable Group of French Modernists." Arts & Decoration (November 1922), pp. 25, 74, ill.

Gustave Kahn. "Paul Gauguin." L'Art et les artistes 12 (October 1925-February 1926), p. 61.

Maurice Denis. Journal entry. October 3, 1927 [published in Maurice Denis, "Journal," vol. 3, 1959, p. 83], mentions "le grand Gauguin, Orana, celui que j'ai restauré" in the Lewisohn collection during a visit to New York.

Stephan Bourgeois. The Adolph Lewisohn Collection of Modern French Paintings and Sculptures. New York, 1928, pp. 160-61, ill.

Stephan Bourgeois. "The Passion of Art Collecting: Notes on the Adolph Lewisohn Collection." Art News (April 14, 1928), pp. 64, 67, ill.

A. Alexandre. Paul Gauguin, sa vie et le sens de son oeuvre. Paris, 1930, pp. 133, 135-40, 157, 161, 263-64, ill.

R. H. Wile[n]ski. French Painting. Boston, 1931, pp. 289, 294, pl. 120.

Stephan Bourgeois and Waldemar George. "The French Paintings of the XIXth and XXth Centuries in the Adolph and Samuel Lewisohn Collection." Formes nos. 28-29 (1932), pp. 301-302.

André Dezarrois. "Chroniques: L'art français à Londres." Revue de l'art ancien et moderne 61 (January-May 1932), p. 103.

James Johnson Sweeney. "Exhibition of French Art, Burlington House." Creative Art 10 (May 1932), pp. 350, 353.

A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections. Exh. cat., Art Institute of Chicago. Chicago, 1933, p. 52, no. 366, discusses related works including drawings and prints of the figure of the mother with the child on her shoulder.

"The Century of Progress Exhibition of the Fine Arts." Bulletin of the Art Institute of Chicago 27 (April-May 1933), p. 67.

Daniel Catton Rich. "The Exhibition of French Art 'Art Institute of Chicago'." Formes no. 33 (1933), p. 383.

Alfred H. Barr Jr., ed. Modern Works of Art. Exh. cat., Museum of Modern Art. New York, 1934, pp. 12, 23, no. 12, pl. 12.

Charles Kunstler. Gauguin: Peintre maudit. Paris, 1934, p. 170, mentions a lithograph after it.

Beril Becker. Paul Gauguin: The Calm Madman. New York, 1935, pp. 195-96.

Paul Gauguin, 1848-1903. Exh. cat., Wildenstein & Co., Inc. New York, 1936, pp. 29, 46, no. 17, ill.

Twentieth Anniversary Exhibition. Exh. cat., Cleveland Museum of Art. Cleveland, 1936, pp. 107-8, no. 276, ill.

Sam A. Lewisohn. Painters and Personality: A Collector's View of Modern Art. [New York], 1937, pp. 61-63, ill.

Pola Gauguin. My Father Paul Gauguin. first American ed. [Norwegian ed. (?)]. New York, 1937, pp. 171-72, suggests that this picture was inspired by Gauguin hearing the news of the birth of his child to his former mistress in Paris.

Introduction by René Huyghe. Cent trente chefs-d'œuvre de l'art français du moyen age au XXe siècle. Paris, 1937, pl. 111.

Charles Sterling in Chefs d'œuvre de l'art français. Exh. cat., Palais National des Arts. Paris, 1937, p. 162, no. 326.

Martin Tow. Tainted Paradise: A Study of the Life and Art of Paul Gauguin. New York, 1937, pp. 107, 153.

René Huyghe. La peinture française: XVIIIme et XIXme siècles (figures et portraits). Paris, 1937, unpaginated, no. 46, ill. (detail).

Sam A. Lewisohn. "Personalities Past and Present." Art News, section I (The 1939 Annual), 37 (February 25, 1939), pp. 70, 154, ill. (installation photo of Lewisohn's home).

Mary H. Piexotto. "Famous Art Collections: The Lewisohn Collection." Studio 117 (March 1939), pp. 95, 101, ill.

Art in our Time. Exh. cat., Museum of Modern Art. New York, 1939, unpaginated, no. 67, ill., calls the subject "a poetic translation into Tahitian terms of the traditional 'Adoration of the Shepherds'".

R. H. Wilenski. Modern French Painters. New York, [1940], p. 131.

Walter Pach in Masterpieces of Art: Catalogue of European and American Paintings, 1500-1900. Exh. cat., World's Fair. New York, 1940, pp. 242, 244, no. 355, ill.

Maurice Malingue. Gauguin. Monaco, 1943, pp. 30, 89, ill.

Henry La Farge. "John La Farge and the South Sea Idyll." Journal of the Warburg and Courtauld Institutes 7 (1944), p. 38, identifies the Madonna as Tahitian and the angel as Maori.

Hans Graber. Paul Gauguin nach eigenen und fremden Zeugnissen. Basel, 1946, pp. 351-52, 377, ill. between pp. 284 and 285.

Raymond Cogniat. Gauguin. Paris, 1947, p. 33, pl. 63.

Henri Perruchot. Gauguin: Sa vie ardente et misérable. Paris, 1948, pp. 188, 190-91, ill. opp. p. 97, comments on its spiritual qualities and contrasts it to "The Yellow Christ" (Albright-Knox Art Gallery, Buffalo) made while Gauguin was still in Britanny.

Jean Leymarie. "Musée de l'Orangerie: Exposition Gauguin." Musées de France (June 1949), p. 110, notes that Arsène Alexandre calls it a "portique de l'oeuvre tahitienne," but does not cite a source.

Frank Elgar. Gauguin. Paris, 1949, unpaginated, no. 16, pl. 16.

Denys Sutton. "The Paul Gauguin Exhibition." Burlington Magazine 91, no. 559 (October 1949), p. 284 n. 9.

Alexander Watt. "The Centenary Exhibition of the Work of Gauguin." Apollo 50 (October 1949), p. 98.

Georg Schmidt. Gauguin. Bern, 1950, p. 28, ill. p. 49.

Bernard Dorival. "Sources of the Art of Gauguin from Java, Egypt and Ancient Greece." Burlington Magazine 93 (April 1951), pp. 118-19, fig. 16, describes how Gauguin used various elements from the decoration of the Javanese temple of Borobudur in this picture; illustrates a photograph of the temple from Gauguin's collection (fig. 15).

Henri Dorra. "Ia Orana Maria." Metropolitan Museum of Art Bulletin 10 (May 1952), pp. 254-60, ill.

Henri Dorra. "The First Eves in Gauguin's Eden." Gazette des beaux-arts, 6th ser., 41 (March 1953), p. 189, fig. 2.

Bernard Dorival, ed. Carnet de Tahiti.. By Paul Gauguin. facsimile of Gauguin's Carnet de Tahiti. Paris, 1954, pp. 17, 26, 29, 36, 58 n. 3, p. 60 n. 3, p. 61 n. 2, p. 62 n. 1 to p. 39, remarks that although the work is dated 1891, it can be inferred that he completed it shortly before writing his letter to Monfreid of March 11, 1892 [see Ref. Gauguin 1892].

John Rewald. Paul Gauguin (1848-1903). New York, 1954, unpaginated, colorpl. 14.

Josephine L. Allen and Elizabeth E. Gardner. A Concise Catalogue of the European Paintings in The Metropolitan Museum of Art. New York, 1954, p. 40.

Robert J. Goldwater. Paul Gauguin. 1st ed. [concise ed. 1983]. New York, [1957], p. 100, colorpl. missing.

A. Hyatt Mayor. "The Gifts that Made the Museum." Metropolitan Museum of Art Bulletin 16 (November 1957), p. 106.

John Rewald. Gauguin Drawings. New York, 1958, p. 30, illustrates a charcoal drawing of the same year and title, dedicated to Count [Antoine] de La Rochefoucauld, editor of the periodical "Le coeur"; also illustrates two undated prints showing the Virgin and Child reversed.

Claus Virch and Samuel J. Wagstaff Jr. in Gauguin: Paintings, Drawings, Prints, Sculpture. Exh. cat., Art Institute of Chicago. Chicago, 1959, pp. 8, 19, 38-39, no. 28, colorpl. 28, suggest Italian primitive art, which Gauguin admired greatly, as the source for both the subject and composition; note that the still life of bananas and bowl appear in "The Repast" (Musée du Louvre, Paris).

Alfred Frankfurter. "Midas on Parnassus." Art News Annual 28 (1959), p. 43, calls it one of Gauguin's "two or three acknowledged masterpieces"; gives sale prices.

René Huyghe et al., ed. Gauguin. Paris, 1961, pp. 34, 87, 90, 122, 234, ill., comment that the influence of Japanese art should also be acknowledged.

Henri Perruchot. La vie de Gauguin. 1961, pp. 271, 275, remarks that Léonce Bénédite, curator of the Luxembourg, refused Gauguin's offer of it as a gift.

John Rewald. Post-Impressionism: From van Gogh to Gauguin. New York, 1962, pp. 502, 506, 509, ill., suggests that Gauguin's lover Tehura is represented in this picture.

Georges Wildenstein. Gauguin. Vol. 1, French ed. [English ed. 1965]. Paris, 1964, p. 167, no. 428, ill.

Georges Boudaille. Gauguin. New York, 1964, pp. 121, 179-80, 190, 194, 207, ill. in color.

Bengt Danielsson. Gauguin in the South Seas. London, 1965, pp. 90-91, 142, 144-45, 190, states that the phrase "Ia Orana Maria" is Tahitian for "Ave Maria" and suggests that a visit to the Catholic church in Mataiea might have inspired the painting.

Patrick O'Reilly. Catalogue du Musée Gauguin, Papeari, Tahiti. Paris, 1965, p. 61 under nos. 210-11.

Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX-XX Centuries. New York, 1967, pp. 170-74, ill, extensively catalogue the picture and link it to the artist's attempt to revive Christian themes; remark that the figures of the Virgin and Child appear again, with some variations, in a watercolor, a charcoal drawing, two monotypes, and zinc engravings.

Paul C. Nicholls. Gauguin. New York, 1967, pp. 13, 25, no. 34, ill. in color.

Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill.

Alexander O. Vietor. Letter. 1968, unpaginated, observes that "Ia Orana" also translates, in more general terms, as "good morning" or just a greeting.

Bengt Danielsson. "The Exotic Sources of Gauguin's Art." Expedition 11 (Summer 1969), pp. 22-23, ill., suggests that the subject came from hearing the Tahitian version of the prayer "Ave Maria".

Patrik Reuterswärd, et al. Gauguin i Söderhavet [Gauguin in the South Sea Islands]. Exh. cat., Etnografiska Museet and Nationalmuseum. Stockholm, 1970, pp. 47, 55.

Edith A. Standen in Masterpieces of Painting in The Metropolitan Museum of Art. Exh. cat., Museum of Fine Arts, Boston. New York, [1970], p. 89, ill. (color).

John Russell. Gauguin. Paris, 1970, pp. 36-37, no. 14, colorpl. 14, remarks that in Tahiti Gauguin wished to "re-do Puvis from Nature" with both a frieze-like construction and an abundance of strong color.

Alan Bowness. Gauguin. New York, 1971, pp. 11-12, colorpl. 32, suggests that it was painted around Christmas in 1891.

G. M. Sugana. L'opera completa di Gauguin. 2nd ed. [1st ed., 1969; Engl. ed, 1973]. Milan, 1972, p. 102, no. 263, ill.

D. de Hoop Scheffer. "Ia Orana Maria (Ik groet U, Maria)." Bulletin van het Rijksmuseum (December 1972), pp. 171-76, ill.

Linnea Stonesifer Dietrich. "A Study of Symbolism in the Tahitian Painting of Paul Gauguin: 1891-1893." PhD diss., University of Delaware, 1973, pp. 13, 67, 95-99, 103, 203-4, 207, credits Gauguin's interest in the Maori religion for his preoccupation with the origins and purposes of life, as demonstrated in this canvas; suggests that the blending of themes from Tahitian and Christian life here indicate his readiness to make analogies between the two cultures; calls it a transitional work, between the Breton years and the first Tahitian period, as well as his first attempt with familiar iconography in an unfamiliar setting.

Lydie Huyghe in René Huyghe. La Relève du réel: la peinture française au XIXe siècle: impressionnisme, symbolisme. Paris, 1974, pp. 350-51, 443, ill.

Pierre Leprohon. Paul Gauguin. Paris, 1975, pp. 210, 330, 338, 346.

Bengt Danielsson. Gauguin à Tahiti et aux îles Marquises. Papeete, 1975, p. 91.

Richard S. Field. Paul Gauguin: The Paintings of the First Voyage to Tahiti. PhD diss., Harvard University, Cambridge, Mass. New York, 1977, pp. 54, 57-74, 78, 301, 306, 315, 360, no. 17, analyzes in detail its composition, color, and symbolism, and through comparisons with earlier and later works; calls it a culminating work, as it unites several developments of 1891; notes that it appears, one of three size 50 canvases, as no. 24 on a list, dated April or May 1892, on 2r and 3r in the "Carnet de Tahiti" of Gauguin.

Maurice Sérullaz in Phaidon Encyclopedia of Impressionism. Oxford, 1978, p. 100.

Vojtech Jirat-Wasiutynski. Paul Gauguin in the Context of Symbolism. PhD diss., Princeton University. New York, 1978, pp. 187 n. 2, pp. 276, 358 n. 2.

Ziva Amishai-Maisels. "Gauguin's Early Tahitian Idols." Art Bulletin (June 1978), p. 331 n. 4.

Mary Lynn Zink. "Gauguin's 'Poèmes barbares' and the Tahitian Chant of Creation." Art Journal 38 (Fall 1978), p. 21 n. 17, remarks that as this angel announces the divine presence of the Virgin and Child, so the angel of "Poèmes barbares" announces "Ta'aroa's divine presence as it is evoked in the Tahitian Chant of Creation".

Susan Wise. Paul Gauguin: His Life and his Paintings. Chicago, 1980, p. 13, colorpl. 15.

Wendy Slatkin. "Maternity and Sexuality in the 1890s." Woman's Art Journal 1 (Spring-Summer 1980), pp. 14, 18 n. 6, states that the women in the background are making motions of prayer, comparing their gestures to those in "The Offering" (1902, W 624, Bührle Collection, Zurich).

Audrey Leigh Hill. "The Re-evaluation of Gauguin as an Artist: 1889 to 1980." Master's thesis, California State University, Long Beach, 1981, p. 103.

Jürgen Harten in Bilder sind nicht verboten: Kunstwerke seit der Mitte des 19.Jahrhunderts mit ausgewählten Kultgeräten aus dem Zeitalter der Aufklärung. Exh. cat., Städtische Kunsthalle Düsseldorf. Düsseldorf, 1982, p. 236, ill. p. 167.

Robert Goldwater. Paul Gauguin. concise ed. [lst ed. 1957]. New York, 1983, p. 74, ill. opp. p. 74 (color), remarks that Gauguin portrays this "Adoration of the Shepherds" as he supposed it must appear to the Tahitians, as he had portrayed the religious visions of the Breton peasants.

Jehanne Teilhet-Fisk. Paradise Reviewed: An Interpretation of Gauguin's Polynesian Symbolism. no. 31, Ann Arbor, Mich., 1983, pp. 1, 48, 171, 185 n. 34, dates it December 1891.

Mary Lynn Zink Vance. "Gauguin's Polynesian Pantheon as a Visual Language." PhD diss., University of California, Santa Barbara, 1983, pp. 29, 134, 348, 386, no. 5, pl. 5, remarks that by the time Gauguin arrived, the old religious myths and rituals had been eradicated and the native Tahitians were more familiar with biblical texts, prayers, and hymns, and that this painting alludes to their Christian beliefs; notes the use of "Christian" wings on the angel; draws a parallel between this presentation of the Christian deity and that of the Tahitian Taaroa.

Robert Rosenblum in Robert Rosenblum and H. W. Janson. 19th-Century Art. New York, 1984, pp. 426, 453, colorpl. 77, suggests that the foreground fruits may evoke not only the gifts of the Magi, but also the Tahitian offerings made to the idols of the Maori religion, whose legends Gauguin was studying at that time.

Kirk Varnedoe. "Primitivism" in 20th Century Art: Affinity of the Tribal and the Modern. Ed. William Rubin. New York, 1984, vol. 1, pp. 178, 187, 189, 191, ill. (color and black and white).

Ziva Amishai-Maisels. Gauguin's Religious Themes. PhD diss., Hebrew University. New York, 1985, pp. 1, 56-57, 190, 288-98, 304-5, 307, 316, 325, 327 nn. 9, 11, 16, p. 328 nn. 19, 21-23, 26-27, p. 334 n. 78, p. 329 n. 37, pp. 358, 383, 485, fig. 126, notes that the pose of the left-hand worshipper is repeated in "Young Christian Girl" of 1894 (McRoberts collection, England) and that she wears a costume with Tahitian influences.

Nicholas Wadley, ed. Noa Noa: Gauguin's Tahiti. Oxford, 1985, pp. 86-87, reproduces an engraved reproduction of it that Gauguin partly retouched with watercolor and pasted onto page 125 of the Louvre manuscript of 1893/97 of "Noa Noa".

Robert Goldwater. Primitivism in Modern Art. enlarged ed. [1st ed., 1938, revised ed. 1967]. Cambridge, Mass., 1986, pp. 75-76, ill.

Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, pp. 5, 11, 76-78, colorpl. 54, remark on the numerous elements that form this "true modern synthesis," a term Gauguin himself used to explain his method.

Michel Hoog. Paul Gauguin: Life and Work. New York, 1987, pp. 158-59, 163, 166, 198, 209, 306 n. 10, colorpl. 109, calls it a Tahitian version of Mother and Child or a Sacra Conversazione with donor figures; mentions the possible influence of Memling, whose work Gauguin saw at the Louvre and in Belgium.

Maurice Malingue. La vie prodigieuse de Gauguin. Paris, 1987, pp. 112, 177, 183, 195.

Yann le Pichon. Gauguin: Life, Art, Inspiration. New York, 1987, pp. 156-57, colorpl. 293, remarks on Gauguin's debt to Fra Angelico for the pale pink and blue angel, and to Botticelli's "Primavera" for both the expression on the Mary and the lush vegetation.

Marla Prather and Charles F. Stuckey, ed. Gauguin: A Retrospective. Exh. cat., National Gallery of Art, Washington, D.C. New York, 1987, pp. 180, 185, 218, 225, 229, colorpl. 57, translate and reprint numerous letters by Gauguin, as well as exhibition reviews and articles that mention and describe this painting.

Belinda Thomson. Gauguin. London, 1987, pp. 141, 145-47, 167, 171, 182, ill. (color and black and white).

Charles F. Stuckey in The Art of Paul Gauguin. Exh. cat., National Gallery of Art. Washington, 1988, pp. 215, 220-21, 233, 236, 242-46, 291, 384, 410, no. 135, ill. in color, ponders its dating, despite being dated "91," due to possible repainting, suggesting that the original horizontal composition was painted over and became a vertical work; remarks on the reuse of certain clothes in other paintings; notes that it was painted on a size 50 canvas, used by Gauguin only on his first trip to Tahiti; identifies the elements of the still life; states that the theory that it was painted in response to the birth of Gauguin's illegitimate son in Paris was initiated by his son Pola and suggests instead that it celebrates his recovery from a nearly fatal illness or that he hoped to present it to the Catholic missionary church near Mataiea.

Françoise Cachin. Gauguin. Paris, 1988, pp. 155, 160-61, 164, 169, pl. 167, comments that it is Gauguin's last work with a Christian theme.

Isabelle Cahn in Gauguin: La Bibliothèque des expositions. Paris, 1988, pp. 60-61, no. 33, ill. (color), proposes the subject is the Adoration of the Shepherds rather than the Annunciation, due to the presence of the Child.

Frédérique de Gravelaine. Paul Gauguin: la vie, la technique, l'oeuvre peint. Lausanne, 1988, pp. 58, 104-5 (ill. in color).

Colta Ives. "French Prints in the Era of Impressionism and Symbolism." Metropolitan Museum of Art Bulletin 46 (Summer 1988), p. 30, ill. in color, calls it a "Maori-Christian Adoration" and remarks on the reuse of the poses of the Virgin's attendants in a woodcut, "Nave Nave Fenua" of 1893-94 (MMA 36.6.5).

Elizabeth Mongan, Eberhard W. Kornfeld, and Harold Joachim. Paul Gauguin: Catalogue raisonné of his Prints. Bern, 1988, p. 131, illustrate a zincograph of the same subject made in Paris during the winter of 1894-95.

John Rewald with the research assistance of Frances Weitzenhoffer. Cézanne and America: Dealers, Collectors, Artists and Critics, 1891-1921. The A. W. Mellon Lectures in the Fine Arts, Princeton, 1989, pp. 325, 330.

Günter Metken. Gauguin in Tahiti: Die erste Reise, Gemälde 1891-1893. Munich, 1989, unpaginated, colorpl. 8.

Pierre Daix. Paul Gauguin. [Paris], 1989, pp. 234-35, 239, 253, 257, 400 n. 21.

Pascale Bertrand. "Exposition Gauguin." Beaux-arts no. 64 (January 1989), pp. 42-43, ill. (color).

Françoise Cachin. Gauguin: "Ce malgré moi de sauvage". Paris, 1989, pp. 75-76, 94, ill. (color), remarks that Mataiea, the area of Tahiti where Gauguin lived, was exclusively Catholic and that the artist was presumably exposed to the first words of the "Hail Mary" -"Ia Orana Maria" - in Tahitian at their church, making the theme likely; remarks that the predominant colors are yellow, red, and blue.

Hans H. Hofstätter. "Christliche Thematik im Werk von Paul Gauguin." Das Münster 42 (1989), p. 304, ill.

U. Stake. Gauguin. Exh. cat.Moscow, 1989, pp. 149, 167-71, 195, ill. (color, overall and detail).

Lesley Stevenson. Gauguin. London, 1990, pp. 126-27, 155, ill. in color, calls "Te Tamari no Atua" of 1896 (W541; Bayerische Staatsgemäldesammlungen, Munich), also painted during Gauguin's first trip to Tahiti, "the conceptual companion of our painting".

Gary Tinterow. "Miracle au Met." Connaissance des arts no. 472 (June 1991), p. 39.

Pierre-Francis Schneeberger. Gauguin - Tahiti. Paris, 1991, pp. 24, 36, 40, 91, colorpl. 4.

Michel Hoog. Gauguin: Actes du colloque Gauguin. Paris, 1991, p. 152.

Fereshteh Daftari. The Influence of Persian Art on Gauguin, Matisse, and Kandinsky. PhD diss., Columbia University. New York, 1991, pp. 101-4, no. 49, ill., comments on the influence of Persian miniatures, noting that the Persian manuscript "History of the Prophets" (Bibliothèque Nationale, Paris) was exhibited in 1878, during Gauguin's time in Paris.

Bernard Denvir, ed. Paul Gauguin, The Search for Paradise: Letters from Brittany and the South Seas.. By Paul Gauguin. London, 1992, pp. 66-67, ill. (color).

Ingo F. Walther. Paul Gauguin, 1848-1903: The Primitive Sophisticate. Cologne, 1993, pp. 38-39, 42, ill. in color.

Fr. Daniel Nassaney O.M.I. Ia Orana Maria, a painting of Paul Gauguin. March 25, 1993.

Caroline Boyle-Turner in Le cercle de Gauguin en Bretagne: L'impressionisme s'installe devant le motif et fait ce qu'il voit. . . . Exh. cat., Musée de Pont-Aven. [Pont-Aven], 1994, pp. 12, 14.

Pierre-Yves Desaive, Jean-Patrick Duchesne, and Pierre Henrion in Gauguin: Les XX et la libre Esthétique. Ed. Françoise Dumont. Exh. cat., Musée d'art moderne et d'art contemporaine. Liège, 1994, p. 40, ill.

Impressionist and Modern Paintings, Drawings and Sculpture, Part I. Sotheby's, London. June 28, 1994, p. 53, publishes the "only traced monotype rendition" of this painting's Virgin and Child.

Asya Kantor-Gukovskaya in Paul Gauguin, Mysterious Affinities. English ed. (Russian ed. 1995). Bournemouth, 1995, p. 61.

Claudia Beltramo and Ceppi Zevi, ed. Paul Gauguin e l'avanguardia russa. Exh. cat.Florence, 1995, pp. 108, 177 n. 4, ill.

David Sweetman. Paul Gauguin: A Complete Life. London, 1995, pp. 304-6, 309, 315, 318, 361-62, 392, 436.

Albert Kostenevich. Hidden Treasures Revealed: Impressionist Masterpieces and Other Important French Paintings Preserved by the State Hermitage Museum, St. Petersburg. Exh. cat.New York, 1995, p. 224.

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 491, ill. p. 490.

Michael Kimmelman. "At the Met with Roy Lichtenstein: Disciple of Color and Line, Master of Irony." New York Times (March 31, 1995), p. C27.

Eckhard Hollmann. Paul Gauguin: Images from the South Seas. New York, 1996, pp. 34-35, 52, 62, ill. (color and black and white), suggests that the illustration of this painting that Gauguin included in "Noa Noa" was probably from the French newspaper "Le Mercure".

John House in Der Traum vom Glück: Die Kunst des Historismus in Europa. Ed. Hermann Fillitz. Exh. cat.Vienna, 1996, pp. 150, 157, colorpl. 1.

Anna Maria Damigella. Paul Gauguin, La vita e l'opera. Milan, 1997, pp. 25, 168, 170-71, ill. in color.

Isabelle Cahn, Albert Kostenewitsch, and Angela Schneider in Paul Gauguin: Das verlorene Paradies. Exh. cat., Museum Folkwang, Essen. Cologne, 1998, pp. 83, 85 n. 26, pp. 97, 243-44, ill.

Naomi Margolis Maurer. The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent van Gogh and Paul Gauguin. Madison, N.J., 1998, pp. 145-46, 166, 293, ill. (color).

Paul Gauguin, Tahiti. Ed. Christoph Becker. Exh. cat., Staatsgalerie Stuttgart. Stuttgart, 1998, pp. 41, 82 n.45, p. 136.

Belinda Thomson. "Exhibition review: Stuttgart. Paul Gauguin." Burlington Magazine 140 (May 1998), p. 350.

Elizabeth C. Childs in Dorothy Kosinski. The Artist and the Camera. Exh. cat., San Francisco Museum of Modern Art. Dallas, 1999, p. 124, mentions the poses of the female attendants at left, their sources in the Borobudur relief, and their repetition in "The Annunciation (Te Faruru)" (1892, Museum of Fine Arts, Springfield), "We Greet Thee, Mary (Ia Orana Maria)" (ca. 1894, Rijksmuseum, Amsterdam), "Faa Iheihe" (1898, Tate Modern, London), and "Change of Residence" (ca. 1899, Art Institute of Chicago).

Bärbel Küster. "Eine Fotografie im Gepäck Gauguins auf der Reise nach Tahiti." Kunstchronik 52 (May 1999), pp. 181-85, fig. 3, introduces a photograph tentatively attributed to Hippolyte Arnoux (Alain Fleig collection, Paris), an official Suez Canal photographer, as a source for the image of the Tahitian Mary and child; states that Gauguin bought such photographs in Port-Said, Egypt, and brought them with him to Tahiti.

Henri Dorra in Paul Gauguin, von der Bretagne nach Tahiti: Ein Aufbruch zur Moderne. Exh. cat., Landesmuseum Joanneum, Graz. Tulln, 2000, pp. 138-39, ill.

Rebecca A. Rabinow. "Modern Art Comes to the Metropolitan: The 1921 Exhibition of 'Impressionist and Post-Impressionist Paintings'." Apollo 152 (October 2000), pp. 5, 7, 10, fig. 5 (color).

Colta Ives in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, pp. 6, 8, 83-84, 221, no. 55, ill. (color) and fig. 5.

Margaret Werth. The Joy of Life: The Idyllic in French Art, circa 1900. Berkeley, 2002, p. 45, fig. 20, dates it about 1891-92.

Susan Alyson Stein in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, pp. 160, 165-66, 168, 170, 230, figs. 62, 64 (installation photos).

Charlotte Hale in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, pp. 189, 193, 195, 232 n. 55, p. 233 n. 79, notes that the cartouche for the inscription was added over the still life at the bottom of the painting.

Marjorie Shelley in Colta Ives and Susan Alyson Stein. The Lure of the Exotic: Gauguin in New York Collections. Exh. cat., The Metropolitan Museum of Art. New York, 2002, p. 234 n. 38.

Jean-Yves Tréhin. Gauguin, Tahiti et la photographie. Ed. Christian Gleizal. [Punaauia, Tahiti], 2003, pp. 98-99, ill. (color), dates it 1891 or 1892.

Paule Laudon. Tahiti-Gauguin: Mythe et vérités. Paris, 2003, pp. 60, 102, ill. p. 59 (color), dates it 1891-92.

Roger Benjamin. Orientalist Aesthetics: Art, Colonialism, and French North Africa, 1880-1930. Berkeley, 2003, pp. 92-93, fig. 40.

George T. M. Shackelford in George T. M. Shackelford and Claire Frèches-Thory. Gauguin Tahiti. Exh. cat., Galeries Nationales du Grand Palais, Paris. Boston, 2004, p. 198.

Claire Frèches-Thory in George T. M. Shackelford and Claire Frèches-Thory. Gauguin Tahiti. Exh. cat., Galeries Nationales du Grand Palais, Paris. Boston, 2004, pp. 25, 28, 32, 315 n. 93.

Isabelle Cahn in George T. M. Shackelford and Claire Frèches-Thory. Gauguin Tahiti. Exh. cat., Galeries Nationales du Grand Palais, Paris. Boston, 2004, pp. 105, 289, 359, no. 74, ill. p. 288 (color), dates it about 1891-92.

Barbara Stern Shapiro in George T. M. Shackelford and Claire Frèches-Thory. Gauguin Tahiti. Exh. cat., Galeries Nationales du Grand Palais, Paris. Boston, 2004, p. 131.

Isabelle Cahn and Gloria Groom in George T. M. Shackelford and Claire Frèches-Thory. Gauguin Tahiti. Exh. cat., Galeries Nationales du Grand Palais, Paris. Boston, 2004, p. 348.

Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, p. 22, fig. 13 [Catalan ed., Barcelona, 2006, p. 19, fig. 13].

Douglas W. Druick in Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde. Ed. Rebecca A. Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2006, pp. 363-64 n. 3.

Richard R. Brettell and Stephen F. Eisenman. Nineteenth-Century Art in the Norton Simon Museum. Ed. Sara Campbell. Vol. 1, New Haven, 2006, p. 485.

Marco Di Capua in Paul Gauguin: Artist of Myth and Dream. Ed. Stephen F. Eisenman. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2007, p. 87, fig. 7 (color).

Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800-1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, p. 11.

Susan Alyson Stein in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800-1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 144-45, 213-15, no. 106, ill. (overall and detail, color and black and white).

Susan Alyson Stein in Masterpieces of European Painting, 1800-1920, in The Metropolitan Museum of Art. New York, 2007, pp. 164-65, 249-50, no. 153, ill. (overall and detail, color and black and white).

Eric Alliez with the collaboration of Jean-Clet Martin. L'oeil-cerveau: nouvelles histoires de la peinture moderne. Paris, 2007, pp. 317-19, 344, 473 [English ed., "The Brain-Eye: New Histories of Modern Painting," London, 2016, pp. 265-67, 281], notes that the eye stops discerning foreground from background in this picture.

Belinda Thomson in Gauguin: Maker of Myth. Ed. Belinda Thomson. Exh. cat., Tate Modern. London, 2010, p. 135, fig. 61 (color).

Gauguin: Voyage into the Myth and After. Ed. Sounjou See Yu Yeon Kim. Exh. cat., Seoul Museum of Art. Seoul, 2013, pp. 166-67, fig. 52 (color).

Caroline Mathieu. "'Je veux aller chez les sauvages': Gauguin en Polynésie." Gauguin: Voyage into the Myth and After. Ed. Dr. Sounjou Seo and Yu Yeon Kim. Exh. cat., Seoul Museum of Art. Seoul, 2013, p. 219.

Flavie Durand-Ruel Mouraux. "Exposer, exposer, exposer . . . La première exposition monographique de Paul Gauguin: A la galerie Durand-Ruel à Paris, novembre 1893." Gauguin: Voyage into the Myth and After. Ed. Dr. Sounjou Seo and Yu Yeon Kim. Exh. cat., Seoul Museum of Art. Seoul, 2013, p. 225, notes that the angel hovering in the left background recalls the angel in "Vision after the Sermon" (1888, Scottish National Gallery, Edinburgh).

Starr Figura. Gauguin: Metamorphoses. Exh. cat., Museum of Modern Art. New York, 2014, pp. 17-19, fig. 2 (color), notes that in Gauguin's process of copying and translating, both from photographs into paintings such as The Met's and from such paintings into prints, he fused seemingly unrelated content, often Christian archetypal and Polynesian cultural references.

Lotte Johnson in Starr Figura. Gauguin: Metamorphoses. Exh. cat., Museum of Modern Art. New York, 2014, pp. 152, 235, compares it to the zincograph and watercolor monotypes Gauguin made after the two figures at right.

Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, p. 449, no. 405, ill. pp. 408, 449 (color).

Dario Gamboni in Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago. Ed. Gloria Groom and Genevieve Westerby. Chicago, 2016, para. 6, under nos. 61-63, fig. 7 (color) [https://publications.artic.edu/gauguin/reader/gauguinart/section/139805], dates it ca. 1891/92; notes its description in Charles Morice's "Point de vue", the introductory chapter of "Noa Noa", and states, following an unpublished manuscript by Peter Zegers (undated, Department of Prints and Drawings, Art Institute of Chicago), that Gauguin may have intended the related watercolor "Ia orana Maria (Hail Mary)" (1894/95, location unknown) to be the frontispiece to this chapter.

Claire Bernardi in Gauguin: Artist as Alchemist. Ed. Gloria Groom. Exh. cat., Art Institute of Chicago. Chicago, 2017, p. 57.

Allison Perelman in Gauguin: Artist as Alchemist. Ed. Gloria Groom. Exh. cat., Art Institute of Chicago. Chicago, 2017, p. 70 n. 12.

June E. Hargrove in Gauguin's Challenge: New Perspectives After Postmodernism. Ed. Norma Broude. New York, 2018, p. 205, notes that Gauguin's wrath regarding the French state's unenthusiastic reception of the Caillebotte bequest was exacerbated by its concurrent rejection of this painting for the Musée du Luxembourg.

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Paul Gauguin | Ia Orana Maria (Hail Mary) | The Metropolitan Museum of Art

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The Painting: From Tahiti, Paul Gauguin wrote to his friend Daniel de Monfreid back in Paris on March 11, 1892, that he had completed one painting, aside from what he called "studies."

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Jesus Mocked by the Soldiers
Edouard Manet
1865
Oil on canvas
This artwork is beautiful in my eyes because of how nicely drawn it is for its age. The artist was portraying Jesus as vulnerable and that makes me feel bad as i am religious myself, but i did like how this is drawn which is why i chose it. I am a follower of Jesus, and thats why i can kinda relate to this artwork.

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Edward Kemeys
Lion(One of a pair, South Pedestral)
1893
Bronze with green patina
This artwork is beautiful in my eyes because of how nicely it is made. I like animals, especially nice looking animal paintings and artworks, so this was a no brainer to talk about for me. This lion is said to guard the art institute of chicago. It gives me such a good emotion because it is a really good looking lion.

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Info:
George Seurat
" A Sunday on La Grande Jatte --1884"
France, 1884-1886
Oil Canvas
For this art piece I have chosen because it holds emotional value for me. I remember my mom having this photo up in our living room, when I lived with her. I remember starring at it as a child trying to pick up the different aspects of the art. It brings me back to my mom's house and all the memories, as well as connections that were shared. This connection with the photo is what makes it beautiful to me and  how it resonates with my life growing up.

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Artist: Thomas Chambers
Tittle: Lake George and the Village of Caldwell
Year:1850
Oil on canvas
I chose this beautiful artpiece as a personal taste because it caught my eye. The oil on canvas has a soothing effect. The colors used are very beautiful on the nature outlook of the image. It also shows a very small villege, so maybe it's private land. With white  boats under the beautiful blue sky. I believe this image connects us to the world and it's wilderness. There is land/ earth, air, and water. I chose this art because it gave me a different view then the other paintings. It made me feel peace, and as if I was there experecing the beautiful view in a vacation.

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The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than 470,000 artworks in The Met collection. As part of The Met's Open Access program, the data is available for unrestricted commercial and noncommercial use without permission or fee.

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Thomas Chambers | Lake George and the Village of Caldwell | American | The Metropolitan Museum of Art

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The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than 470,000 artworks in The Met collection. As part of The Met's Open Access program, the data is available for unrestricted commercial and noncommercial use without permission or fee.

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Info:
German Cologne
"Triptych with Scenes from the Life of Christ"
Germany, 1350-1375
Ivory with trace of Gold

I have chosen this piece because I like how it represents the different stages of Christ and how it tells a story through the art itself. Christianity is a belief I have been raised up in and so It has importance to me. I feel it is a great was to share the story of Jesus Christ to many people who have this connection to Him and His story, to remind those who believe in Him what his life represents. I believe this allows those who look to this religion to connect and appreciate the art, along with the gratitude it holds within us.

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Info:
Claude Monet
"Water Lilies"
France, 1906
Oil Canvas

For me, this piece represents the beauty of water and nature. I personally have a huge connection with water and have always admired it's properties and the beauty it holds. It is a source for most living things and we are able to view the world around us in a different way through it's reflections. This artwork gracefully expresses the beauty nature has.
In addition, Claude Monet is another artist my mother is found of and I remember seeing some of his artwork around our household as well. Given this, I also have emotional connection with the art through memory as well.

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Artist: Rembrandt (Rembrandt van Rijn)
Title: Christ Crucified between the Two Thieves: The Three Crosses
Year: 1653
Medium: Drypoint printed on vellum
This image captures the emotions, body laungue and excretion's of the crowds. On looking the crucifixion's of Christ. We can see people fainting, others remorseful, horrified, and  frighten. We can also we to the left the Virgin Merry, with a look of hopeless and detached. She is being consoled by other women. I chose it image because of my religious faith. The crucifixion of Jesus was a part of God's plan from the very begging. The sin of mankind would require a sacrifice.

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Georges Seurat
Study for "A Sunday on La Grande Jatte"
1884
Oil on Canvas
This art work is beautiful and is well done. The texture and details of this art make it so interesting to look at. The colors are bright and colorful, which makes me think of summer when I look at this. The emotions I feel when I look at this are happy because the message seems like a pretty Sunday afternoon. I choose this artwork for the beauty sake because it just stood out to me and the details really amazed me

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Sanford Robinson Gifford
A Gorge in the Mountains
1862
Oil on canvas
This art piece really stood out to me was because of the nature feel. This picture is beautiful and it just looks so peaceful. The details are very well done with the oil paint and the colors go perfect. I was so intrigued with this picture because how it is so calming and the simplicity of it makes it a great piece. I choose this piece among others because I love nature and the details really stood out to me. I relate a lot to this artwork because it is simple, but very beautiful.

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James Hamilton
Beach Scene
1865
Watercolor and gouache on off-white wove paper
This picture stood out to me a lot and is actually one of my favorites. The beach is my favorite place to go and the scenery is beautiful. This art piece is amazing and is very well executed. The colors and the calmness of the picture makes it a masterpiece. I felt happy when I saw this because any picture of the beach just makes me happy. The artist did such a great job for this art work.

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Artist's name: Paul Cézanne
Title of artwork: Still Life with Apples and a Pot of Primroses
Year it was created:  ca. 1890
Material/Medium: Oil on canvas

This art create the appreciation of beauty through its detailed stylic features including its color and space. The unity of the color specifically the blending of yellow and orange color in the fruits make it so realistic as well as the chosen color for the background and how it blended with the leaves. This art reflects our daily lives, the simple things that matters most that we don't notice most of the time. I choose this art for beauty's sake because of the comfortable feeling I felt watching this art.

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Artist's name: Ferdinand Hodler
Title of artwork: The Dream of the Shepherd
Year it was created: 1896
Material/Medium: Oil on canvas

I think the purpose of this art is to express emotions. The thing that makes the painting beautiful is the use of color blending as well as characters are given emphasis. Ideally, it connects to the audience's emotional aspect. Among other art that express this standouts to me most.

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Artist's name: Not Indicated
Title of artwork: Terracotta volute-krater
Year it was created: ca. 450 B.C.
Material/Medium: Terracotta; red-figure

This piece of vase is very attractive because of its aesthetic black color blended with orange characters. I think it express historical context from the time this was made. I chose this among the others because of its classical beauty.

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Artist: Edwin Lord Weeks
Title: The Rajah Starting on a Hunt
Year: 1885
Medium: Oil on canvas.
I chose this oil on canvas painting because I enjoy it, I like this painting. The Painting is depicting a since of hunters preparing for their expedition. The painting has so much detail. My eyes are drawn at the base of the painting, then are pulled up the homes. I personally don't have any connections to this painting other then my personal liking this painting. This painting is beautiful.

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Title: Midsummer
Artist: Albert Moore
Year: 1887
Mterial: Oil on canvas

I chose this image because of how beautiful everything in it is. The girl in the middle looks like royalty and she looks so relaxed and at peace. The chair she is sitting on looks really luxurious and expensive. Everything overall in the image looks very luxurious. I chose this because every detail is so beautiful and even the women fanning her have fans that look like they're a gold color

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Title: Sistine Madonna
Artist: Raphael
Year: 1513-1514
Material: Canvas

I chose this image as the art for the sake of expression because it tells a story to me. What caught my eye was the two little angel at the bottom. They are looking up at the women that is carrying the baby as if they are protecting her. The lady looking down at the angels has a smile on her face like she feels safe that the angels are watching. I chose this image because of how angelic and beautiful it is. They are in the clouds and it all looks so peaceful

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Title: Vase with fifteen sunflowers
Artist: Vincent Van Gogh
Year: 1888
Material: Oil on canvas
I chose this image for the art for personal taste because sunflowers are my favorite flower. The color yellow makes me feel happy so when I saw this image it immediately stuck out to me. Right away it gave me happy feelings. There's some texture in the background on the wall.

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Barbara Regina Dietzsch

A Branch of Gooseberries with a Dragonfly, an Orange-Tip Butterfly, and a Caterpillar

between 1725-1783
gouache over graphite on prepared vellum

What makes this artwork beautiful is the fine strokes Dietzsch uses to paint the leaves and the insects. To me, the drawing expresses tranquility and beauty. I believe this drawing serves to unite the variety of insets that settle upon, in this work, a gooseberry branch. I chose this artwork among the others because of the tranquility it conveys but also the black background made the drawing stand out even more, which was eye-catching.

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Frida Kahlo
My Nurse and I, 1937
Oil on metal

Kahlo's painting expresses a simple relationship between her and her nurse. The mask that the nurse is wearing symbolizes she has no emotions towards Kahlo's baby figure at all, looking straight towards the audience. I chose this painting because it was interesting to see how Kahlo presented the emotional connection between herself and her wet nurse. Also the fact that she painted the mammary glands establishes what the relationship's connection was like even more.

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Tōshūsai Sharaku

三代目大谷鬼次の奴江戸兵衛|Kabuki Actor Ōtani Oniji III as Yakko Edobei in the Play The Colored Reins of a Loving Wife (Koi nyōbō somewake tazuna)

6th month, 1794
Polychrome woodblock print; ink, color, white mica on paper

I enjoy art like this ink drawing from Japan because of the way they are drawn and of the expressions made. These drawings aren't like traditional ones as the expressions from face to body are not usually done. I chose this artwork among the others because of the man's face and hand positions! It's unlike any of the work I have seen and It's even more fascinating that this work was from centuries ago.

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Artist: Jacob van Ruisdael

Title: Dune Landscape with Oak Tree

Year: 1650-55

Material: Black chalk, brush and gray wash, and gouache; framing lines in pen and brown ink

The thing that stood out to me was how detailed the drawing was. Just looking at the tree alone I really notice the branches and small details. It makes me feel calm because it reminds me of being in nature. The main focus is the tree but there is a lot more going on in the background such as the mountain, the other trees and the barn. I chose this piece of art because it was one of the first ones to catch my eye.

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Artist: Vittore Carpaccio

Title: The Meditation on the Passion

Year: 1490

Material: Oil and tempera on wood

The painting represents death and resurrection. In the center Christ's body is on a broken throne. You can also see a bird above Christ which is supposed to be a symbol of the soul. I chose this painting because there seems to be a lot going on, but after looking deeper into the painting you realize that everything has meaning. There is life and death throughout. Looking towards the upper left, there is a deer being killed but looking to the right there are animals thriving.

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Artist: Jean-Léon Gérôme

Title: Bashi-Bazouk

Year: 1868-69

Material: Oil on canvas

I liked this painting because it took me awhile to realize it was a painting and not a photograph. The silk tunic that the soldier is wearing is very realistic and the detail is amazing. This painting makes me wonder what that soldier has gone through and that this is just a snapshot of his life. I chose this piece because like I mentioned before it is very realistic and it took me a second to figure out it wasn’t a picture.

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Anonymous
Dagger with Scabbard
1605-27
Steel, iron, gold, rubies, emeralds, glass, wood, textile
When I first saw this piece, I was taken back by the beauty of the dagger. It is covered in gemstones that distract from the type of danger it carries. I feel this dagger expresses how we can see beauty within the same things we may fear. Although a dagger is a dangerous weapon, this one specifically has me captivated and fooled that it could ever do any harm. I don't think there is any true story for it to tell other than how it is perceived by individuals. I feel personally connected to this piece because it can be easy to only see things for what they are on the outside but there is something completely different on the inside. Metaphorically speaking, we may confide in people we think have our best interest but later come to find out they "stabbed us in the back".

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Roman
Marble Statue Group of the Three Graces
2nd Century A.D.
Marble
This sculpture represents The Three Graces, Aglaia (beauty), Euphrosyne (birth), and Thalia (abundance). These women hold what's most pleasurable beneficent in nature and society. This sculpture expresses the beauty women hold, regardless of today's societal standards. It also expresses unity between women since each of them are connected to one another. This art stood out most among the others since a lot of the other sculptures were masculine. There is nothing wrong with that, however, I appreciated seeing these women portrayed as beauty and grace.

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Barry X Ball, "Fragment of a Queen's Face" (ca. 1353-1336 B.C.)
Medium: Yellow jasper

Although this artwork shows only a portion of a woman's face, it does not fail to deliver her beauty and strength. It proves the important of details and elements in composing a piece of art. She, the sculpture, exudes a sense of royalty, wisdom, and power. The piece was made to honor a female figure of high standing in Egypt though her identity could not be distinguished.

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Arthur Rothstein, "Burial of Famine Victim, Hengyang, China" (1946)

Medium: Gelatin silver print, No. 23, from the portfolio "Arthur Rothstein" (1981); edition 24 of 50

This artwork demonstrates hunger and the unfairness of life. Coming from a developing country in Asia, I noticed that some people are wasting food and others are starving to death. Through this artwork, I want to deliver the message that people should be grateful for what they have as many others are literally fighting to meet their most basic needs. This artwork also serves to unify and connect us to be empathetic and help one another through hardships.

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Edward Hopper, "Nighthawks" (1942)
Medium: Oil on canvas

I chose this artwork for this category because I relate to it. This is an oil painting inspired by a restaurant at the intersection of two streets in a large city. It showcase the loneliness feeling one has especially living in a large city. I like the clean lines, the contrast in value and color as well as the large spaces in between. Under the perceived boring and lonely atmosphere, the painting also gives off a peaceful feeling to me. As an introvert, I learned to see beauty in stillness as it pushes me to sometimes live life slower to fully appreciate and understand myself as well as my surroundings more.

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Provenance: Vladimir Bobri
Guitar
ca. 1800
Spruce, ebony, ivory, tortoiseshell, mother-of-pearl, brass
This guitar features classical figures, musical instruments, and floral motifs made from ebony on ivory. The colors used on the design of this guitar create a positive and negative effect which I find beauty in. The use of neutral colors allows for the detail of the designs to really stand out. I chose this guitar out of all of the other artworks because it was the most unique in my eyes. I have never seen a guitar with art covering it. I have never played guitar myself but it is pretty beautiful to listen to.

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1. Artist: Henri Matisse
2. Title of artwork: Interior at Nice
3. Year: 1919–1920
4. Material/ Medium: Oil on canvas
Artwork by artist Henri Matisse. I like this painting because it's beautiful. Furthermore, I really like the interior drawing styles. The landscape of the picture is a room with the door open, a woman sitting with her eyes facing the sea. I feel very peaceful when I see this picture. The colors in the painting are also soft. Not too brilliant make the viewer a sense of peace.

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1. Artist: Martin Johnson Heade
2. Title: Magnolias on Light Blue Velvet Cloth
3. Year: c. 1885–1895
4. Material/Medium: Oil on canvas
A very beautiful still-life painting by artist Martin Johnson Heade. The painting has two branches of white lotus, neatly placed on a blue silk cloth. Brightness, gloss, and color combine harmoniously and subtly. I like these paintings because I am attracted to the beauty of the flower. The artist drew very well to make the flower look real.

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1. Artist: Vincent van Gogh

2. Title of artwork: The Poet’s Garden

3. Year: 1888

4. Material/Medium: Oil on canvas

A peaceful landscape painting by famous painter Vincent van Gogh. A green garden with green tones makes me feel excited.

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Artist: Vincent van Gogh
Title of artwork: The Poet’s Garden
Year: 1888
Material/Medium: Oil on canvas

This painting caught my eye because of the way the brushes reacted to the canvas. I love the shapes and the textures of the trees. Seeing this painting really calms me because I feel like I am in nature.

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Artist: Jean-Léon Gérôme

Title: Bashi-Bazouk

Year: 1868-69

Material: Oil on canvas

This painting exemplifies a culture which I lack little knowledge of. I feel honored to be able to appreciate this painting and to be apart of something I don't understand. I will never know the hardships and the struggles due to the time period which this painting was made. The history in this painting can be seen by the clothing and many artifacts the individual in this painting is holding.

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Artist: Jean-Léon Gérôme

Title: Bashi-Bazouk

Year: 1868-69

Material: Oil on canvas

This painting is extremely beautiful. The intricate detailing in the furniture and the people really show how much time was taken in this painting. I am amazed at how this painting made me feel due to the beauty it holds.

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Artist's name:Irving Penn

Title of artwork:3 Chanel Products, New York

Year it was created:1968

Material/Medium:Gelatin silver print; edition of 7

What is the purpose or aim of this artwork?

What makes it beautiful to me is that it's vintage and in black in white. It's not just an ordinary black and white, it has some grey tones and you can tell the light is shining from the left side. I think the purpose of this is to show that anything can be art, meaning even if it is an old cologne or aftershave, it is still beautiful. What matters is what is inside the bottle.

Why did you choose it among all others? How do you relate with this artwork?

I chose this artwork because I like old vintage items. I like knowing that this piece was not expensive back then but in today's life, it is. I cannot actually relate to this artwork because I am not a guy. This product is for men and is targeted to men but somehow it caught my eye.

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Artist's name:Edouard Manet

Title of artwork:Jesus Mocked by the Soldiers

Year it was created:1865

Material/Medium:Oil on canvas

What is the purpose or aim of this artwork?

This artwork is beautiful to me because he is my God. This art piece makes me a little sad because of all the things Jesus had to go through while he passed away. “In this painting, Manet portrayed Jesus as very human and vulnerable by presenting him frontally; by making him seem passive, almost limp; and by surrounding him with rather gruff characters. The canvas’s visible brushstrokes and its almost monochromatic tonality create an insistent sense of materiality that further evokes a palpable, unidealized Christ. The work depicts the moment when Jesus’s captors mock the “King of the Jews” by crowning him with thorns and covering him with a robe. Although, according to the Gospel story, this taunting was followed by beatings, Manet’s soldiers appear ambivalent as they surround the pale, denuded figure. In these ways Manet managed to present a traditional subject in a contemporary, challenging light.”-Edouard Manet, this is the meaning of the artwork said by the artist.

Why did you choose it among all others? How do you relate with this artwork?

I chose this artwork because it is my religion and I can relate to this photo. Not related by being Jesus himself but knowing about his sacrifices he did for many people and all of his great accomplishments and struggles. He is the one I pray to for help and protection.

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Artist: Gaston Lachaise
Title: Woman (Elevation)
Year: 1912-1915
Material/Medium: Bronze

This sculpture was a representation of how Gaston Lachaise sees his wife: as patriarchal beauty standards that objectify and oppress all women. The standards emphasize beauty and sexuality which compel women to meet. In short, a sex object. That is not how I choose to look at this artwork instead, I view it  as a representation of body acceptance which is important, powerful and positive. This attractive chubby bronze sculpture shows strength without any judgement on one's body. Women have faced this oppression for decades.

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Artist: Pietro Lorenzetti
Title: The Crucifixion
Year: 1340s
Material/Medium: Tempera and gold leaf on wood

I chose this piece because it is the most known and recognizable event in The Bible. As the title says, it is the crucifixion of Christ, and growing up Catholic I know it well from my time in church. I find it beautiful with the colors dark except the golden halos and lining of the saddles and clothes that bring the viewer’s attention first, then lets it settle over the rest after. If you look closely, you see the Virgin Mary fainting and being supported by others, an emotion I am sure the artist wanted the audience to understand and feel. It shows the story of Christ, dying for the sins of his people, bleeding and bringing the people to tears. It serves to connect the followers of The bible, reminding them of the ultimate sacrifice.

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Artist: Purchase, Irene Lewisohn Bequest, 1966
Title: Robe à l'Anglaise
Year:  1785–87
Material/Medium: silk

I chose this piece of art out of personal interest. I find the shape of the gown gorgeous with it’s flushed red stripes and sheer shawl. Made of silk and worn by women, the latter no doubt looked beautiful -- whether a noblewoman or commoner -- while going out with friends or a party. A robe like this unifies women in the old saying ‘Pain is Beauty’, having to tie their stays, layering pockets, and holding their head held high and polite. Despite all that, it makes me smile, wishing I could be dressed so beautifully.

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Scott Coulter

Bear Lake

2017

11” x 14” Original acrylic on canvas

What makes this beautiful to me is the detail. I love the colors, the background, reflection off the water, and how incrediblity realistic it is, this piece looks exactly like your seeing the view of the lake in person. It makes me happy looking at this. Nature makes me really happy in general and being around water. Altogether this piece makes me feel happy while comfortable. The bright colors, detail although out the painting brought real liveliness and fun memories of my past.

I chose this piece because of how much emotion it brings to me, I feel happy, calm, peace, joy, and comfort. I connect and relate to it because when I was younger my family would always take me to lakes, so lots of my good childhood memories were beautiful views on lake days. I also am in love with nature and appreciate all its beauty, I could actually stare at a flower for 5 minutes just admiring its life lol. I love views, I love nature, and I feel the purest happiness being around it. This specific piece stood out to me because I could look at it forever. It feels like a view I’ve seen before and the detail is stunning.

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Nat Farbman

A couple relaxing on the banks of the Seine River in Paris, France

Spring of 1949

Sreet photography

I’m in love with this! The connection, the authenticity, the purity, the character, and the liveliness of living in that very moment. I feel realness, love, care, and hope. I feel emotionally connected to this because it’s all I could ever ask for in life. I see two people brought together with a view of the river, connected from living in the same moment together: no distractions, no phones, no high expectations. Just a river, just a moment, and them two. I think it’s beautiful while extremely authentic, which gives me hope. I believe this could symbolize connecting and focusing on what’s right in front of you. Enjoy every moment of the present, and make time for the important people in your life to connect authentically and genuinely.

I chose this piece because it’s always spoken to me. I actually didn’t know the name or any information following this photo. I had to do a reverse google image search to find it. I’m happy I did because I really wanted to share this amazing photo and express how I’ve always connected/ related to it.

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Iconeo

Same Thoughts

2019

Digitally made from Microsoft

This image kind of makes me frustrated because how society perceives life in a way of not caring is better than making a difference to care. I see this in daily life and also on a bigger scale of life being affected by this in many traumatic ways. I do not speak for all people when I say this, But many do not care about most subjects or issues if it doesn’t directly affect them in the present moment, which pushes the problem that they’re contributing to onto the next person, instead of coming together to unify for whats right. This does express emotion and a story because someone is visibly drowning and no one wants to be the person to do anything because they expect someone else to. I believe it’s supposed to connect us to be more aware.

I chose this because I know it’s important to talk about tough subjects and reality to bring awareness. You can’t change the people around you, but you can change the people around you. I relate to this on a much deeper level than I could ever expressly show. I watch people everyday worry about drama, fake news, and wrapped up in their selfishness. I hate seeing the beautiful things in life die or become extinct because so many people have the mindset “The others will do it or help” when realistically that’s not the case, again I do not speak for all people. I just would love to bring any awareness, in any way of realizing the reality of what the world is leading to.

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Artist's name:Talavera Poblana

Title of artwork:Plate

Year it was created:1800-1850

Material/Medium:Tin-glazed earthenware
What is the purpose or aim of this artwork?

This makes it beautiful because, I mean just look at it. It's a beautiful plate, who wouldn't want to eat off of it. Some people save these types of plates and not use them and keep them in a safe place or others will use them for food. There are so many bright colors that it just makes me happy looking at this piece.

Why did you choose it among all others? How do you relate with this artwork?

I chose this artwork because it is something that is part of my culture and I loved this plate. Some people may think it is just a colorful plate that doesn't have a purpose but this is the type of plates we eat off. It is very beautiful and there are so many different varieties to choose from.

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Archibald John Motley Jr., Nightlife (1943), Oil on Canvas
The aim of the artwork is to show viewers a glimpse into what the nightlife was like in that era. Here, it is easy to see that the artist made this scene lively incorporating artificial light and the colors here help to express the liveness of this scene.

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Arist: Mickalene Thomas
Title: Can't We Just Down and Talk it Over?
Materials: Color screenprint on white wove paper
Date: 2006-2007

What makes this beautiful it depict a Black women with a afro. She is just relaxing with one of her nipples exposed. Also I love the colors especially yellow. I like how the artist uses yellow to put emphasis on certain areas of the artwork. To me it shows calmness and readiness. I feel like the women is waiting for someone or something. I chose this artwork because of the Black women. I look like that on the weekend that is what connects me to this artwork.

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Joan Mitchell, City Landscape (1955), Oil on linen
This is an abstract painting by artist Joan Mitchell. Here, she uses excessive amounts of vibrant colors as a way to express the "energy" of the metropolis when seen from a distance. The artist purposely took her time to paint this and in her own words, "eventually, the painting tells me what to do".

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American Collectors (Fred and Marcia Weisman), David Hockney (1968), acrylic on canvas
I guess what makes it beautiful is how simple it looks really. The artist here uses bright colors here to reflect on the southern California environment where he currently resides.

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1. Artist's name: Charles Le Brun

2. Title of artwork: Everhard Jabach (1618- 1695) and His Family

3. Year it was created: 1660

4. Material/Medium: oil on canvas

This painting grabbed my attention by how it's all figured out and how each person in the painting has it's own expression. With different humors. As i see the picture it shows that the family is very united, as in they stay together and they get along in some sort of way. In which shows in different humors.m

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Mémoire, Estats, Inventaire et Règlements de droits dans la famille de feu Sieur Évrard Jabach, et de dame Anne-Marie de Groot, sa veuve. July 17, 1696, no. 647 [Archives de la Bibliothèque du Louvre, Paris; Inventaire A.DD-1; published in Grouchy 1894], as "La famille de M. Le Brun," valued at 3,000 livres.

Claude Nivelon. Vie de Charles Le Brun et description détaillée de ses ouvrages. ca. 1699 [whereabouts unknown, copy in Bibliothèque Nationale de France, Paris, Français 12987; published in Lorenzo Pericolo, ed., Geneva, 2004, p. 240], states that Le Brun, "uni d'amitié et d'inclination avec le sieur Jabach," painted a portrait of his friend's family, about sixteen feet long, very beautiful.

[Johann Heinrich Merck]. "Eine mahlerische Reise nach Coln, Bensberg und Düsseldorf." Der Teutsche Merkur no. 3 (1778), pp. 114-16, sees it in the Jabach house in Cologne, describing it admiringly.

Sir Joshua Reynolds. Notebook entry. 1781, p. 89r [Collection Frits Lugt, Fondation Custodia, Paris, MS 6169; see Mount 1996, pp. 139-40], in a traveling notebook associated with his manuscript "A Journey to Flanders and Holland" (British Library, London, Egerton MS 2165, p. 172r; published in Malone 1797, p. 113) writes of seeing "at Cologne at Mad. de Groote of the family of Jabac" (i.e., the version sold to the Berlin museum in 1836): "The Family of Jabac by Le Brun; it is in the possession of his heirs; his wife between four children, much superior to what I could conceive Le Brun capable of doing in the portrait style. She is sitting on his left hand, with four children about her, and a greyhound, equally correct and well painted with the rest. Jabac himself is much in shadow except the face. Le Brun himself is represented by his picture on a canvas I think on an easel. Before him lye prints, drawings, port-crayons, and a large gold bust of Alexander. The heads themselves are equal to the best of Vandick; but there is a heaviness over the picture, which Vandick never had, and this is its only defect".

Reize langs den Neder-Rhyn . . . en Oogstmaand des Jaars MDCCLXXXIV door een Gezelschap uit eene der Nederlandsche Steden gedaan. Kampen, 1785, p. 138, notes seeing it in the house of Baron Hupke in Cologne [probably leased to him by Von Bors, who according to Baumeister 1926-27 did not himself live in the house he inherited].

Louis Joseph, prince de Condé. Journal entry. August 7, 1789 [published in comte de Ribes, "Journal d'émigration du prince de Condé, 1789-1795," Paris, 1924, p. 19], writes of having seen "un très grand tableau de Le Brun représentant la famille des Jabac" in a house in Cologne.

[Alexandre-Louis-Bertrand Robineau, called de Beaunoir]. Voyage sur le Rhin, depuis Mayence jusqu'à Düsseldorf. Neuwied, 1791, vol. 2, pp. 124-25, describes seeing it at the "Jabachischehaus," where Rubens is said to have been born (i.e., the house on Sternengasse), in Cologne, calling it a true masterpiece.

Friedrich Leopold Graf zu Stolberg. Reise in Deutschland, der Schweiz, Italien und Sicilien. Königsberg, 1794, vol. 1, p. 24, records seeing it in the Jabach house in Cologne in summer 1791, noting that it is installed in its own room and that the public is always welcome to view it.

Edmond Malone. The Works of Sir Joshua Reynolds, Knt., Late President of the Royal Academy. London, 1797, vol. 2, p. 113 n., mistakenly identifies the picture seen by Reynolds in 1781 as the version "now (1794) in the collection of Mr. Hope of Amsterdam," whereas it has now been determined that Reynolds saw the version later sold to the Berlin museum.

Freye Bemerkungen auf einer Reise in den Rheingegenden. Leipzig, 1797, pp. 412-13 n., does not see the picture himself, but quotes from Stolberg 1794.

Nicolaus Vogt, [Nicolaus Vogt, and Alois Wilhelm Schreiber]. Mahlerische Ansichten des Rheins von Mainz bis Düsseldorf. Frankfurt, 1806, vol. 3, p. 63, mistakenly still locate the picture in "das Ibachische Haus" where Rubens was born, in Cologne.

[Johann Wolfgang von] Goethe. Aus meinem Leben: Dichtung und Wahrheit. part 3, Tübingen, 1814, 14th book, pp. 437-38, records having seen Le Brun's portrait in the Jabach house ("Jabachs Wohnung") in Cologne in the summer of 1774 (apparently the MMA version).

[Johann Wolfgang von] Goethe. Ueber Kunst und Alterthum in den Rhein und Mayn Gegenden. Stuttgart, 1816, vol. 1, p. 3, having travelled through Cologne again in 1815, notes that the picture is still there and worthy of being the jewel of a public institution.

Joseph Gregor Lang. Reise auf dem Rhein von Mainz bis Düsseldorf. 3rd ed. Frankfurt, 1818, vol. 2, pp. 254-55 [1st ed., 1790], as in the Jabach house, where Rubens was born, in Cologne.

Köln und Bonn mit ihren Umgebungen. Cologne, 1828, p. 117, describes in detail the portrait then still in the de Groote house on Glockenstrasse [Glockengasse] in Cologne, mentioning that a repetition had been in the Jabach house on Sternengasse until the last decade of the previous century.

Fried. Ev. von Mering and Ludwig Reischert. Zur Geschichte der Stadt Köln am Rhein. Vol. 1, Cologne, 1838, pp. 279-80, state that the artist Egidius Mengelberg drew the painting in 1786 when it was in Cologne in the collection of von Bors, who had inherited it, and that Hope of Amsterdam bought the picture for 10,000 thalers.

[Georges] Guillet de Saint-Georges in L. Dussieux et al. Mémoires inédits sur la vie et les ouvrages des membres de l'Académie Royale de Peinture et de Sculpture. Paris, 1854, p. 8.

J[ohann]. J[acob]. Merlo. Die Familie Jabach zu Köln und ihre Kunstliebe. Cologne, 1861, pp. 55-58, seemingly conflates the two versions and their respective provenances, discussing as a single picture the two versions seen by Goethe at the Jabach house on Sternengasse, one in 1774 and the other in 1815, adding (incorrectly) that the painting was later in the possession of relatives on Glockengasse, from where it was sold in 1836 to the Berlin museum; mentions that there is said to have been a copy belonging to Jabach's descendants; states (again incorrectly) that both versions were in Jabach's house on Sternengasse, one leaving at the end of the preceding century and the other remaining after the house became a magistrate's court ("Friedensgericht") in 1835; provides biographical details on the Jabach family; dates the picture about 1660-61 based on the ages of the children.

L[ouis]. Clément de Ris. Les amateurs d'autrefois. Paris, 1877, pp. 133-35, dates it about 1660 and locates it the Berlin museum; describes the composition with some inaccuracies, claiming that Henri (Heinrich) died in 1703 at the age of forty-eight.

Edouard Fournier, ed. Le Livre commode des adresses de Paris pour 1692.. By Abraham du Pradel (Nicolas de Blegny). Paris, 1878, vol. 1, p. 220 n. 1, incorrectly gives the date of sale in Cologne as February 1787.

vicomte de Grouchy. "Éverhard Jabach: collectionneur parisien (1695)." Mémoires de la Société de l'Histoire de Paris et de L'Ile-de-France 21 (1894), pp. 242-43 n. 5, p. 281, no. 647, mentions the composition and locates it in the Berlin museum; publishes the Jabach estate inventory of 1696.

Wilhelm Baumeister. "Zur Geschichte des Lebrunschen Jabachbildes." Wallraf-Richartz Jahrbuch 3-4 (1926-27), pp. 211-21, discusses in detail the provenance of the two versions, identifying the one sold to Henry Hope as the original, whereabouts unknown (now MMA), and the Berlin painting as a replica probably sent by Jabach to his relatives in Cologne, noting that the latter is recorded in the de Groote house in 1694; dates the composition late 1660 based on the ages of the children, giving Heinrich's birth year as 1658; discusses the Wallraf-Richartz pencil drawing, noting that the bust of Minerva differs from that in the Berlin composition; cites letters between Van Mechel and Wallraf indicating that a drawing and possibly an engraving after the picture were made at the time of its sale in 1791-92.

Wilhelm Baumeister. "An Inquiry." Apollo 3 (January-June 1926), p. 248, requests information on the whereabout of this version of the composition, which he calls probably a copy.

Otto H. Förster. Kölner Kunstsammler. Berlin, 1931, pp. 50, 53-55, 140 n. 114, p. 141 n. 124, notes that Baumeister (1926-27) has convincingly argued that the Berlin version is not the original.

Charles Sterling. Les peintres de la réalité en France au XVIIe siècle. Exh. cat., Musée de l'Orangerie. Paris, 1934, pp. 84-85, under no. 57 [reprinted in P. Georgel, "Orangerie, 1934: Les 'Peintres de la réalité'," exh. cat., Musée de l'Orangerie, Paris, 2006, pp. 194-95].

Wilhelm Baumeister. "Das Jabachsche Familienbild im Berliner Museum." Westdeutsches Jahrbuch für Kunstgeschichte: Wallraf-Richartz-Jahrbuch 10 (1938), pp. 195, 199, 201, identifes the prime version then on the Sternengasse as the one seen by Goethe in 1774 and notes that it was considered a special attraction of Cologne for travelers to the city, a role that the de Groote version later took on, after the other was sold.

Peter Paul Trippen. Jabach: Die "Fugger-Familie" des Westens. Cologne, 1938, pp. 43-45, 50, 56-63, states that Jabach commissioned both versions at the end of 1660, keeping one at his hôtel in Paris and sending the other to his wife's family in Cologne; adds that the first version went to the Jabach house in Cologne after his death; notes that von Bors came into possession of this house in 1778, leased it out, and sold the family portrait in 1792 to Hope in Holland; notes that during the years the picture was in Cologne it was seen as a special ornament of the city and attracted many admirers; states that the 1792 sale went unnoticed by the outside world, but was much lamented within the city, although the other version, in the de Groote house since about 1662, was still in Cologne.

Anthony Blunt. "The Early Work of Charles Lebrun-II." Burlington Magazine 85 (August 1944), pp. 193-94, concurs with Baumeister (1926-27) on dating the composition 1660 and on identifying the Berlin version as a replica; remarks on the debt to Dutch group portraits.

F. Grossmann. "Holbein, Flemish Paintings and Everhard Jabach." Burlington Magazine 93 (January 1951), p. 19, notes that Baumeister has shown that the original version is the one sold to Henry Hope (now MMA).

Horst Vey. "Die Bildnisse Everhard Jabachs." Wallraf-Richartz-Jahrbuch 29 (1967), pp. 168-72, identifies the prime version as the one seen by Goethe in 1774, adding that after purchasing the painting in 1791, Von Mechel resold it immediately to Hope; states that the drawing in Cologne cannot be definitely attributed to Mengelberg; records Heinrich's birth date as December 1659 and his baptism as January 1660, leading him to date the picture late 1660-early 1661, with a terminus ante quem of April 1661, when the fifth child, Anna Katharina, was baptized; mentions that there is a study for Heinrich in the Louvre; notes that the second version is mentioned in 1697 as part of Jabach's brother-in-law's (Heinrich de Groote) children's inheritance and that it remained with the family until 1836, when it was auctioned off, going to the Berlin Museum in 1837.

Christopher Hussey. "Olantigh, Near Wye, Kent-III." Country Life 146 (August 7, 1969), p. 337, figs. 6, 7 (installation views).

Ursula Voss. Everhard IV. Jabach: Ein Kölner Sammlerfürst im Ancien Régime. Cologne, 1979, p. 27.

Antoine Schnapper. Collections et collectionneurs dans la France du XVIIe siècle. Vol. 2, Oeuvres d'art, curieux du grand siècle. Paris, 1994, p. 277.

Harry Mount, ed. A Journey to Flanders and Holland.. By Sir Joshua Reynolds. Cambridge, 1996, pp. 139-40, 181 n. 749, identifies the picture seen by Reynolds as the Berlin version, given by Jabach to his brother-in-law Heinrich de Groote; calls the whereabouts of the MMA version, acquired after 1791 by Henry Hope, unknown.

Alexandra Skliar-Piguet in The Dictionary of Art. Ed. Jane Turner. Vol. 16, New York, 1996, p. 815, dates it 1660 and states that Jabach built his second collection around this work, mistakenly identifying it as the Berlin version.

Emmanuel Coquery in Visages du Grand Siècle: Le portrait français sous le règne de Louis XIV, 1660-1715. Exh. cat., Musée des Beaux-Arts, Nantes. Paris, 1997, p. 57, ill. p. 59, as private collection, Great Britain; dates it about 1657-59; calls it a highlight of Le Brun's oeuvre, a French "Las Meninas".

Horst Vey in Der Riss im Himmel: Clemens August und seine Epoche. Ed. Werner Schäfke. Vol. 1, Coellen eyn Croyn: Renaissance und Barock in Köln. Cologne, 1999, p. 155 n. 54.

Antoine Schnapper. "Everard Jabach: Von Deutschland nach Frankreich." Jenseits der Grenzen: Französische und deutsche Kunst vom Ancien Régime bis zur Gegenwart. Ed. Uwe Fleckner et al. Cologne, 2000, pp. 108-9, 111 n. 32, based on a supposed birthdate of 1660 for the baby, Heinrich, dates it to the end of 1661 or 1662.

Bernadette Py. Everhard Jabach collectionneur (1618-1695): les dessins de l'inventaire de 1695. Paris, 2001, p. 11.

Bénédicte Gady. L'ascension de Charles Le Brun: Liens sociaux et production artistique. Paris, 2010, pp. 230, 462 n. 776, presumes the version in an English private collection (now MMA) to be an autograph replica or copy with variations after the Berlin work, although noting that Baumeister has identified the Berlin painting as a replica.

Clare Baron. "A Pedagogical Model of Patronage: Education, Imitation, and the Role of Copies in the Collection of Everhard Jabach (1618-1695)." Master's thesis, Courtauld Institute of Art, London, 2012, pp. 1-2, 6-18, 20, 23, 37-38, fig. 1 (installation view from Hussey 1969).

Olivia Savatier Sjöholm in Un Allemand à la cour de Louis XIV: De Dürer à Van Dyck, la collection nordique d'Everhard Jabach. Ed. Blaise Ducos and Olivia Savatier Sjöholm. Exh. cat., Musée du Louvre. Paris, 2013, p. 41.

Didier Rykner. "The Jabach Family by Charles Le Brun Joins the Met." The Art Tribune. May 16, 2014, pp. 1-2, fig. 1 (color) [http://www.thearttribune.com/The-Jabach-Family-by-Charles-Le.html].

R[ita]. Wagner. "Weltkunst in der Sternengasse." Museenkoeln: Bild der Woche. March 31-April 6, 2014, ill. (color) [http://www.museenkoeln.de/home/bild-der-woche.aspx?bdw=2014_13], states that the Berlin version was moved from the de Groote house on Glockengasse to the Jabach house on Sternengasse after the MMA version was sold, and that it is the Berlin version that Goethe saw there in 1815.

Rita Wagner. "Kölner Kunstsammler und Global Player: Von der Sternengasse nach Paris-Die Familie Jabach." Köln in unheiligen Zeiten: Die Stadt im Dreißigjährigen Krieg. Ed. Stefan Lewejohann. Cologne, 2014, p. 124, ill. (color), reviews the history of the family and Jabach's collecting.

Keith Christiansen. "La création tardive d'une collection de peintures baroques au Metropolitan Museum of Art / Creating a Baroque Collection at the Metropolitan Late in the Game." Aux origines d'un goût: la peinture baroque aux États-Unis / Creating the Taste for Baroque Painting in America. Paris, 2015, pp. 63, 70.

Stephan Wolohojian. "Le Brun en Amérique: l'entrée de deux nouvelles toiles au Metropolitan Museum of Art / Le Brun in America: Two New Paintings at The Metropolitan Museum of Art." Aux origines d'un goût: la peinture baroque aux États-Unis / Creating the Taste for Baroque Painting in America. Paris, 2015, pp. 75-76, 79-81, 82 nn. 25-26, pp. 83, 85-86, 87 nn. 25-26, fig. 2 (color).

Peter Noelke. "Kölner Antikensammlungen und -Studien vom Humanismus bis zur Aufklärung und ihr Kontext im deutschen Sprachraum." Kölner Jahrbuch 49 (2016), pp. 562-63.

Bénédicte Gady and Nicolas Milovanovic in Charles Le Brun (1619-1690). Ed. Bénédicte Gady and Nicolas Milovanovic. Exh. cat., Musée du Louvre-Lens. Lens, 2016, p. 17, fig. 1 (color).

Bénédicte Gady in Charles Le Brun (1619-1690). Ed. Bénédicte Gady and Nicolas Milovanovic. Exh. cat., Musée du Louvre-Lens. Lens, 2016, pp. 77, 123, under no. 30, pp. 165, 188, under no. 68, p. 210, under no. 80.

Anne le Pas de Sécheval in Charles Le Brun (1619-1690). Ed. Bénédicte Gady and Nicolas Milovanovic. Exh. cat., Musée du Louvre-Lens. Lens, 2016, p. 19.

Mickaël Szanto. "L'affaire Jabach: Charles Le Brun et les tableaux de Louis XIV." Revue de l'art no. 192 (2016), p. 9, fig. 1 (color).

Kathryn Calley Galitz. The Metropolitan Museum of Art: Masterpiece Paintings. New York, 2016, pp. 279, 290, no. 241, ill. pp. 235, 290 (color).

Ariane James-Sarazin with the collaboration of Jean-Yves Sarazin. Hyacinthe Rigaud, 1659-1743. Dijon, 2016, vol. 1, p. 34; vol. 2, p. 51, under no. P.129, date it about 1657-59.

Stephan S. Wolohojian in "Recent Acquisitions, A Selection: 2014-2016." Metropolitan Museum of Art Bulletin 74 (Fall 2016), p. 41, ill. (color).

Wolf Burchard. The Sovereign Artist: Charles Le Brun and the Image of Louis XIV. London, 2016, pp. 23, 25, 240 n. 10, fig. 6 (color).

Stephan Wolohojian. "A Grand Tableau: Charles Le Brun's Portrait of the Jabach Family." Metropolitan Museum of Art Bulletin 75 (Summer 2017), pp. 4-27, ill. front and back covers, inside front cover, p. 4, fig. 1 (color, overall and details), fig. 3 (on wall at Olantigh House), traces the complicated history of the painting and provides biographical information on the patron; discusses the objects depicted, especially the mirror with Le Brun's self-portrait, and the possible influences on the composition.

Melinda Watt in "A Grand Tableau: Charles Le Brun's Portrait of the Jabach Family." Metropolitan Museum of Art Bulletin 75 (Summer 2017), pp. 28-35, 48 n. 50, ill. p. 28 (color detail), discusses the textiles depicted in the painting.

Michael Gallagher in "A Grand Tableau: Charles Le Brun's Portrait of the Jabach Family." Metropolitan Museum of Art Bulletin 75 (Summer 2017), pp. 36-46, 48 nn. 65, 67, ill. p. 36, figs. 45, 46 (color details), figs. 39-44 (color; before treatment with canvas seams indicated; reverse; during treatment), 48 (detail from Berlin version superimposed over New York version), 49 (X-radiograph), discusses the conservation treatment, Le Brun's painting technique, and the relationship between the Berlin and New York versions; notes that X-radiography surprisingly revealed that the central piece of canvas has a different ground preparation from that of the four perimeter strips and considers possible reasons for this.

Mario von Lüttichau. "Charles Le Brun: Everhard Jabach und sein Familienbild." Lempertz 1798: Bulletin no. 1 (2018), unpaginated, fig. 2 (color).

The Private Collection of Jayne Wrightsman. Christie's, New York. October 14, 2020, p. 29.

Andrea Bayer, Barbara Drake Boehm, and Daniëlle O. Kisluk-Grosheide. "Princely Aspirations." Making The Met, 1870-2020. Exh. cat., The Metropolitan Museum of Art. New York, 2020, pp. 87, 261 n. 52.

Karen Wilkin. "'A New Look at Old Masters' Review: In a New Light, Literally." Wall Street Journal (January 9, 2021), ill. (color) [https://www.wsj.com/articles/a-new-look-at-old-masters-review-in-a-new-light-literally-11610193600].

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Charles Le Brun | Everhard Jabach (1618-1695) and His Family | The Metropolitan Museum of Art

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Mémoire, Estats, Inventaire et Règlements de droits dans la famille de feu Sieur Évrard Jabach, et de dame Anne-Marie de Groot, sa veuve. July 17, 1696, no. 647 [Archives de la Bibliothèque du Louvre, Paris; Inventaire A.DD-1; published in Grouchy 1894], as "La famille de M. Le Brun," valued at 3,000 livres.

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Title: Many Mansions
Artist: Kerry James Marshall
Date: 1994
Materials: Acrylic on paper mounted on canvas

What makes this artwork beautiful is the colors. Also the Black men in the artwork. One of the men seem to be upset. I can not see the other men faces. This art piece does tell a story. The artist wanted to depict the struggles of the ghetto. The concept of this artwork comes from the bible verse John [14:2]: “In my Father’s house there are many mansions.” I chose this because it made me ask question. It has many factors in this art piece. I can relate because I know how low income housing can be. Only the strong survive.

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Title: The Room No.VI
Artist: Eldzier Cortor
Date: 1948
Materials:Oil and gesso on Masonite

What makes this artwork beautiful is the shapes and the colors. Poverty is the theme of his artwork. Also why the artist made this artwork. The artist wanted to show how the projects is. The story is families in the projects and having to live in a one bedroom. So the artist is depicting how the family had to share a room. I chose this art piece because how the artist used shapes. I loved how he exaggerated the body of the man and the people in the bed. I lived in low-income housing before. Also I know how it feel to share a room. Poverty is tiring and hurt people's mental health.

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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Art for the sake of expression (philosophical, political, or spiritual/religious)

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1. Artist's name: Guido Reni (Italian, Bologna 1575–1642 Bologna)

2. Title of artwork: The Immaculate Conception

3. Year it was created: 1627

4. Material/Medium: Oil on canvas

For this amazing painting

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Guido Reni. Letter to Antonio Galeazzo Fibbia. August 19, 1627 [published in Giovanni Bottari and Stefano Ticozzi, eds. "Raccolta di lettere sulla pittura, scultura ed architettura," 8 vols., Milan, 1822-25, vol. 1, 1822, pp. 296-97], writes that he has accepted the commission for a large painting [this work] from the ambassador of Spain.

Document. December 31, 1627 [Archivio Barberini, Biblioteca Vaticana; published in Marilyn Aronberg Lavin, "Seventeenth-Century Barberini Documents and Inventories of Art," New York, 1975, p. 30, no. 255], records arrangements made by the Barberini to send porters to Bologna to bring the painting back to Rome.

Document. December 1627 [Archivio Barberini, Biblioteca Vaticana; published in Marilyn Aronberg Lavin, "Seventeenth-Century Barberini Documents and Inventories of Art," New York, 1975, p. 30, no. 256].

Document. January 1, 1628 [Archivio Barberini, Biblioteca Vaticana; published in Marilyn Aronberg Lavin, "Seventeenth-Century Barberini Documents and Inventories of Art," New York, 1975, p. 30, no. 258].

Document. April 1629 [Archivio Barberini, Biblioteca Vaticana; published in Marilyn Aronberg Lavin, "Seventeenth-Century Barberini Documents and Inventories of Art," New York, 1975, p. 30, no. 260], records the payment to Carlo Ciliani for customs tax on this painting.

Gio[vanni]. Pietro Bellori. Le vite de' pittori, scultori e architetti moderni. Rome, 1672, p. 23v, notes that the Spanish ambassador had commissioned for the Infanta a painting of the Immaculate Conception by Reni; relates that the ambassador's constant visits and impatience for the work to be completed resulted in Reni sending the picture to Bologna, from where it was returned to Rome only after the Pope's intervention.

Carlo Cesare Malvasia. Felsina pittrice: vite de' pittori bolognesi. Bologna, 1678, vol. 2, p. 37 [1841 ed., Bologna, ed. Giampietro Zanotti, vol. 2, p. 27; 1971 ed., Bologna, ed. Marcella Brascaglia, pp. 368-69].

[Jean Baptiste Pierre] LeBrun. Recueil de gravures au trait, à l'eau forte, et ombrées, d'après un choix de tableaux de toutes les écoles, recueillis dans un voyage fait en Espagne, au Midi de la France et en Italie, dans les années 1807 et 1808. Paris, 1809.

A Catalogue of the Very Distinguished Collection of Italian, French, Flemish, Dutch, and English Pictures, of the Finest Class, of George Watson Taylor, Esq. Christie's, London. June 13-14, 1823, p. 8, no. 65, states that it comes from the Seville cathedral.

W[illiam]. Buchanan. Memoirs of Painting, with a Chronological History of the Importation of Pictures by the Great Masters into England since the French Revolution. London, 1824, vol. 2, p. 193, no. 15, lists it among works imported to England by Delahante; states that it was originally in Spain, that it came from the collection of General Sebastiani, and that Delahante sold it to Taylor.

Mrs. Jameson. Companion to the Most Celebrated Private Galleries of Art in London. London, 1844, p. 108, no. 53, as in the Bridgewater Gallery; points out that although it is known as the Assumption of the Virgin, the actual subject is the Immaculate Conception; states that it was bought by Lord F. Egerton, and that "it was formerly in the collection of the Prince of Peace, and obtained from Spain by the Chevalier Bourke, who sold it to Mr. Watson Taylor".

Catalogue of the Bridgewater Collection of Pictures, Belonging to the Earl of Ellesmere, at Bridgewater House, Cleveland Square, St. James's. 3rd ed. [London], 1851, pp. 18-19, no. 117, as "The Assumption, or the Immaculate Conception of the Virgin, attended by Angels"; marked as added to the collection by the Earl of Ellesmere.

George Stanley, ed. A Biographical and Critical Dictionary of Painters and Engravers.. By Michael Bryan. new ed. London, 1853, p. 629, calls it "the perfection of the ideal in painting".

Catalogue of the Bridgewater Collection of Pictures, Belonging to the Earl of Ellesmere, at Bridgewater House, Cleveland Square, St. James's. 5th ed. [London], 1856, pp. 20-21, no. 117, as "The Assumption, or the Immaculate Conception"; states that it came from the Seville cathedral, was imported to France by Sebastiani, who sold it to Delahante, who sold it to Taylor, at whose sale in 1832 it was bought by Smith; notes that it has recently been engraved by W. H. Watt.

W. Burger [Théophile Thoré]. Trésors d'art exposés à Manchester en 1857. Paris, 1857, p. 102 [reprinted as "Trésors d'art en Angleterre," Brussels, 1860, with same pagination].

G[eorge]. S[charf]. A Handbook to the Paintings by Ancient Masters in the Art Treasures Exhibition. London, 1857, p. 70, calls it "The Virgin in Glory" and "a weak specimen of the master at his weakest period".

Mrs. Jameson. Legends of the Madonna. London, 1864, pp. 48, 327, lists it with three other paintings of the Immaculate Conception ascribed to Reni as among the earliest accredited pictures of the subject; states that it was painted for the Infanta of Spain and places it chronologically before the picture at Forlì [see Notes].

Charles Blanc and Henri Delaborde. Histoire des peintres de toutes les écoles: École bolonaise. Paris, 1877, p. 16.

George Redford. Art Sales. London, 1888, vol. 2, p. 235, records the purchase price at the 1832 sale as £1,102.12.

Catalogue of the Bridgewater and Ellesmere Collections of Pictures at Bridgewater House, Cleveland Square, St. James's, London. [London?], 1897, p. 21, no. 117.

Mrs. Steuart Erskine. "The Bridgewater and Ellesmere Collections in Bridgewater House." Connoisseur 6 (May 1903), p. 10, calls it "most painfully coloured" and "said to have been used as a banner in processions".

Catalogue of the Bridgewater and Ellesmere Collections of Pictures and Statuary at Bridgewater House, Cleveland Square, St. James's, London. [London], 1907, p. 23, no. 117.

Vincenzo Costantini. Guido Reni. Milan, 1928, p. 181, mentions a "Beata Vergine" commissioned by the Spanish ambassador.

Walter Friedlaender. "Der antimanieristische Stil um 1590 und sein Verhältnis zum Übersinnlichen." Vorträge der Bibliothek Warburg (1928-29), p. 222 n. 2, mentions it as having been made for the Spanish Infanta, and notes that it probably had a direct influence on Spanish painting.

Otto Kurz. "Guido Reni." Jahrbuch der kunsthistorischen Sammlungen in Wien, n.s., 11 (1937), p. 218, identifies this picture, then in Bridgewater House, as the work Reni painted for the Spanish Infanta.

Giuseppe Fiocco. "Una pala ritrovata di Guido Reni." Arte antica e moderna no. 4 (October-December 1958), pp. 388-89, pl. 151 and ill. opp. p. 388 (color), identifies it with the picture described by Malvasia in 1678 [see Ref.], commissioned by the Spanish ambassador; dates it about 1625, before the Forlì painting.

"Bibliografía." Archivo español de arte 32 (October-December 1959), p. 350, pl. 1, briefly reviews Ref. Fiocco 1958.

Alfonso E. Pérez Sánchez. Pintura italiana del s. XVII en España. PhD diss., Universidad de Madrid. Madrid, 1965, pp. 169, 175.

D. Stephen Pepper. "Guido Reni's Early Drawing Style." Master Drawings 6 (Winter 1968), p. 366.

D. Stephen Pepper. "A Rediscovered Painting by Guido Reni." Apollo 90 (September 1969), pp. 208, 210-11, 213 nn. 4, 10, fig. 3, relates the light palette to that used in Charity (MMA, 1974.348), which he dates slightly later.

Howard Hibbard. "Guido Reni's Painting of the Immaculate Conception." Metropolitan Museum of Art Bulletin 28 (Summer 1969), pp. 18-32, ill., dates it 1627; discusses the iconography of the Immaculate Conception, comparing the MMA painting with others of the same subject; dates the version in Forlì about 1623 and states that the related Assumption in Castelfranco Emilia was completed in 1627; suggests that the MMA picture may have been influenced by Bernini's Saint Bibiana (Santa Bibiana, Rome) of 1624-26 and also notes the influence of the MMA work on Algardi's stucco Mary Magdalen (San Silvestro al Quirinale, Rome) of about 1628.

D. Stephen Pepper. "Guido Reni's Early Style: His Activity in Bologna, 1595-1601." Burlington Magazine 111 (August 1969), p. 475 n. 20.

Edi Baccheschi in L'opera completa di Guido Reni. Milan, 1971, p. 104, no. 135, ill.

Burton B. Fredericksen and Federico Zeri. Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections. Cambridge, Mass., 1972, pp. 173, 306, 609.

Frank Herrmann. The English as Collectors: A Documentary Chrestomathy. New York, 1972, fig. 50, reproduces a photograph showing it hanging in the picture gallery at Bridgewater House.

D. Stephen Pepper. "Guido Reni's 'Il Diamante': A New Masterpiece for Toledo." Burlington Magazine 115 (October 1973), p. 633.

A. Pigler. Barockthemen: Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts. 2nd ed. [first ed. 1956]. Budapest, 1974, vol. 1, p. 508.

Evelina Borea, ed. Le vite de' pittori, scultori e architetti moderni.. By Giovanni Pietro Bellori. Turin, 1976, p. 526 n. 1.

Diego Angulo Iñiguez. "Varias pinturas sevillanas: Asunción de Tristán." Archivo español de arte 56 (April-June 1983), pp. 161, 163, fig. 13, attributes an Immaculate Conception (fig. 10) on the art market in London to Zurbarán and comments on its similarity to the MMA picture; reproduces the copy (fig. 14) of the MMA painting now hanging in the Seville cathedral.

D. Stephen Pepper. Guido Reni: A Complete Catalogue of his Works with an Introductory Text. New York, 1984, pp. 31, 256-57, 261, no. 114, pl. 139, states mistakenly that it is said to have come from the Toledo cathedral; dates the Castelfranco Emilia Assumption slightly earlier (1626-27) and the Forlì Immaculate Conception slightly later (1628-29).

Ursula Schlegel. "Bernini und Guido Reni." Jahrbuch der Berliner Museen 27 (1985), p. 140.

Brigitte Kühn. "Guido Renis Vorzeichnung für die Immaculata Conceptio in Forlì." Römische historische Mitteilungen 27 (1985), p. 434.

Wolfgang Prohaska in Guido Reni und Europa: Ruhm und Nachruhm. Ed. Sybille Ebert-Schifferer, Andrea Emiliani, and Erich Schleier. Exh. cat., Schirn Kunsthalle Frankfurt. Frankfurt, 1988, p. 665, believes it influenced Ribera's painting of the same subject of 1637 (Graf Harrach'sche family collection, Rohrau).

Angelo Mazza et al. in Guido Reni, 1575-1642. Exh. cat., Pinacoteca Nazionale di Bologna. Bologna, 1988, pp. LXXXVI, 122-23, 202, no. 50, ill. [English ed., Los Angeles, pp. 254-55, 259 n. 10, pp. 264-66, no. 41, ill.].

Sybille Ebert-Schifferer et al. in Guido Reni und Europa: Ruhm und Nachruhm. Exh. cat., Schirn Kunsthalle Frankfurt. Frankfurt, 1988, pp. 17-18, 28, 30, 175-78, 197, 200, 702, 718, no. A20, ill. (color).

Michel Feuillet. "Contribution à l'histoire de l'Assomption des Philippins de Pérouse de Guido Reni: Le retour à la lumière d'un chef-d'oeuvre du musée des Beaux-Arts." Bulletin des musées et monuments lyonnais no. 2 (1988), p. 14, fig. 8.

Robert B. Simon with Frank Dabell in Important Old Master Paintings: Devotion and Delight. Exh. cat., Piero Corsini, Inc. New York, Fall 1989, p. 80, fig. 3 (detail).

Richard E. Spear. "Re-viewing the 'Divine' Guido." Burlington Magazine 131 (May 1989), p. 372, under no. 46.

Claudio Strinati in Opus Sacrum. Ed. Józef Grabski. Exh. cat., Royal Castle, Warsaw. Vienna, 1990, pp. 228-29, figs. 3, 5 (overall and detail).

Alfonso E. Pérez Sánchez in Jusepe de Ribera, 1591-1652. Exh. cat., Castel Sant'Elmo et al. Naples, 1992, p. 284, states that it seems to have influenced Ribera's painting of the same subject dated 1635 (Chiesa del Convento delle Agustinas Recoletas di Monterrey, Salamanca).

Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 117, ill.

Wolfgang Prohaska. "I rapporti di Ribera con la pittura fiamminga in area mediterranea: Il caso Van Dyck." Scritti in memoria di Raffaello Causa: Saggi e documenti per la storia dell'arte, 1994-1995. Naples, 1996, p. 214.

Richard E. Spear in The Dictionary of Art. Ed. Jane Turner. Vol. 26, New York, 1996, p. 197, fig. 2.

Richard E. Spear. The "Divine" Guido: Religion, Sex, Money and Art in the World of Guido Reni. New Haven, 1997, pp. 18, 21, 111, 140-42, 293, 320, 355 nn. 60, 62, p. 357 n. 84, colorpls. 53-55 (overall and details).

Anthony Colantuono. Guido Reni's "Abduction of Helen": The Politics and Rhetoric of Painting in Seventeenth-Century Europe. Cambridge, 1997, pp. 17-20, 22, 54, 109, 248 n. 26, p. 249 n. 39, fig. 7, states that the Spanish ambassador, whom he identifies as Iñigo Vélez de Guevara y Tasís, 5th Count of Oñate, had commissioned a Rape of Helen (Musée du Louvre, Paris) from Reni as well as the Immaculate Conception, and that Reni's letter to Fibbia of August 19, 1627 [see Ref.] could refer to either work, although most probably to the latter picture; recounts in detail the altercations between Reni and Oñate; notes that the commission of the Immaculate Conception was related to the Spanish desire for the pope to define this doctrine as dogma.

Gérard-Julien Salvy. Guido Reni. Paris, 2001, p. 152, no. 121, ill.

Gabriele Wimböck. Guido Reni (1575-1642): Funktion und Wirkung des religiösen Bildes. PhD diss., Universität München. Regensburg, 2002, pp. 230-33, 244, 247, 251, 255, 258, colorpl. IX.

Nicola Spinosa. Ribera. Naples, 2003, p. 242 n. 121, ill. p. 204.

Enrique Valdivieso. "Presencia e influencia de las obras foráneas en el devenir del barroco pictórico sevillano." El arte foráneo en España: Presencia e influencia. Ed. Miguel Cabañas Bravo. Madrid, 2005, pp. 202-3, ill.

Elizabeth A. Pergam. "From Manchester to Manhattan: The Transatlantic Art Trade After 1857." Bulletin of the John Rylands Library 87, no. 2 (2005), pp. 86, 91.

Valentina Maderna in Brera mai vista, una mistica visione: l'"Immacolata Concezione" di Bernardo Cavallino. Exh. cat., Pinacoteca di Brera. Milan, 2008, p. 20, agrees with Pérez Sánchez [see Ref. 1992] that this work influenced Ribera's painting of the same subject in Salamanca.

Keith Christiansen in Philippe de Montebello and The Metropolitan Museum of Art, 1977-2008. New York, 2009, p. 36.

Viviana Farina. Al sole e all'ombra di Ribera: questioni di pittura e disegno a Napoli nella prima metà del Seicento. Vol. 1, Castellammare di Stabia, 2014, pp. 91, 228 n. 210, fig. 105 (color).

Jesse M. Locker. Artemisia Gentileschi: The Language of Painting. New Haven, 2015, p. 36, fig. 1.19 (color).

Keith Christiansen. "La création tardive d'une collection de peintures baroques au Metropolitan Museum of Art / Creating a Baroque Collection at the Metropolitan Late in the Game." Aux origines d'un goût: la peinture baroque aux États-Unis / Creating the Taste for Baroque Painting in America. Paris, 2015, pp. 64, 70, fig. 2 (color, gallery installation).

Andrea Bayer. "Better Late than Never: Collecting Baroque Painting at The Metropolitan Museum of Art." Buying Baroque: Italian Seventeenth-Century Paintings Come to America. Ed. Edgar Peters Bowron. University Park, Pa., 2017, pp. 131, 152 n. 11.

Old Masters. Christie's, New York. October 31, 2017, unpaginated, under no. 26.

Karen Wilkin. "'A New Look at Old Masters' Review: In a New Light, Literally." Wall Street Journal (January 9, 2021) [https://www.wsj.com/articles/a-new-look-at-old-masters-review-in-a-new-light-literally-11610193600].

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Guido Reni | The Immaculate Conception | The Metropolitan Museum of Art

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Guido Reni. Letter to Antonio Galeazzo Fibbia. August 19, 1627 [published in Giovanni Bottari and Stefano Ticozzi, eds. "Raccolta di lettere sulla pittura, scultura ed architettura," 8 vols., Milan, 1822-25, vol. 1, 1822, pp. 296-97], writes that he has accepted the commission for a large painting [this work] from the ambassador of Spain.

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Artist: Pierre-Auguste Renoir

Dance at Le Moulin de la Galette

1876 painting

This painting tells the story of the time period in which it was painted. The painting showcases a scene from what seems like to be a typical Sunday afternoon in Moulin de la Galette. I found this painting to be of interest to me because their are many focal points within the painting so therefor it is hard to keep your focus on just one thing which has interest in itself. I think this painting unifies people because it shows togetherness and the happiness that it brings. I relate to this piece because I typically like to be around my friends and family.

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1. Artist's name: Paul Cézanne (French, Aix-en-Provence 1839–1906 Aix-en-Provence)

2. Title of artwork: Still Life with Apples and a Pot of Primroses

3. Year it was created: 1890

4. Material/Medium: Oil on canvas

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Artist: Frederic Leighton, 1st Baron Leighton

Flaming June

1895 painting

Painted with oil paints on a 47" × 47" square canvas

I picked this painting to represent personal taste because honestly id personally would like to be in. her position. This painting is very eye-catching right of the bat, the orange dress the women is wearing is very vibrant and appealing. Personally I would like to be In her position, as it seems to me that she is taking a very well deserved nap while sitting in a more upper class home surrounded by views of the ocean.

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Artist: Vincent van Gogh

Cafe Terrace at Night

1888 painting

coloured oil painting

This painting is beautiful In every way, the art captures the beauty of a romantic evening or night out in Paris. This piece is defiantly telling a story, yet it is unclear as to what. Perhaps a man got stood up on a beautiful evening but he was able to capture the beauty of the night.