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“Oh woe is me

T’have seen what I have seen, see what I see.”

This quote made me immediately think of Guernica by Picasso. This painting is of the inhumane destruction of an innocent civilian town. They were unsuspecting and innocent, and all of the sudden was destroyed over something that couldn't take more than a few minutes (a bombing). This could be related to hamlets downfall in Ophelia’s eyes. In this quote she is mourning the old hamlet, the same way the painting Guernica is mourning the town that was destroyed. The bomb to Guernica is old hamlets death to young hamlet, it couldn't have taken more than a few minutes to actually kill him, but destroyed the rest of hamlets life. This downfall had a vastly negative impact on hamlet, though the event was not his fault, and was a power move by someone else, the same way the destruction of Guernica was not the civilians fault, and was a power move in war.

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“Oh my offense in rank, it smells to heaven; It hath the primal eldest curse upon’t, A brother’s murder. - Claudius

Claudius reflects on the murder of his brother and is feeling very guilty. He knows that he did wrong, and that his karma is probably coming for him. I chose No.61 (Rust and Blue), by Mark Rothko, because I feel that it properly captures the internal dread that Claudius was feeling. Mark Rothko was depressed and this caused many of his paintings to have a somber feel. No.61 is very dark and dreary and almost intimidating to look at because of the blood red that pops out against the intense blue, so it fits with how Claudius’s guilt is taking over him.

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"My lord, he hath importuned me with love

In honorable fashion."

I chose the painting orange and yellow by Rothko because of the ideas that Rothko wanted his audience to come up with and feel. Rothko was all about bringing emotions to his viewers, which relates to this quote from Ophelia. She looks and listens to hamlet with the blind faith that the love he claims to have for her is real. She is telling her falling that what she sees she feels but be genuine love and she is ready to argue that fact. This made me think of Rothko's art because his goal when creating painting was to evoke emotion and new thoughts to his audience. It is up to the viewer to come up with their own perspective. In this case Ophelia is determined that was she sees within Hamlet is love, but her father is viewing the situation differently. It doesn't matter what reality is- and in both instances of Hamlets love and looking at the painting orange and yellow- it is up to the eye of the beholder.

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Nude Descending a Staircase, No. 2 (French: Nu descendant un escalier n° 2)

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Hamlet (Act I. iv.40-44) -Angelina Fasolo

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Hamlet (Act I. iv.40-44) -Angelina Fasolo

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“Be thou a spirit of health or goblin damned,

Bring with thee airs from heaven or blasts from hell,

Be thy events wicked or charitable,

Thou comest in such a questionable shape

That I will speak to thee.”

This quote comes from the scene where hamlet is seeing the ghost for the first time, this is before he realizes the ghost is his father. Hamlet is confused and even a bit scared he’s unsure on what he’s looking at. “Be thou a spirit of health or goblin damned” this painting is very abstract, although many felt that this painting (Nude Descending a Staircase, No. 2) was too futuristic for cubism, the influence of cubism is heavy in this painting. Many cubists focused on moments in time with flat geometric shapes that has the viewer looking at the painting and viewing it in a way to try and figure out the main figure or object in the painting. I felt that views of cubism relate to the feelings of confusion hamlet is feeling, along with the fear due to cubism being so “out there” compared to other works of art. The wonder in cubism that the views are able to have is due to the many overlapping and “busy” shapes.

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“O God, I could be bounded in a nutshell, and count myself

A king of infinite space, were it not that I have bad dreams.”

- Hamlet (II.ii.243-244)

Painting: The Persistence of Memory - Salvador Dalí

In correlation to my quote, I chose The Persistence of Memory by Salvador Dalí. Dalí, a surrealist who focused heavily on the subconscious and dream state, sought to uncover the deepest truths of the human mind through artistry. The Persistence of Memory takes everyday objects, such as clocks, and distorts them in an uncanny manner. In doing so, it places the audience in a dream-like school of thought, which to some viewers, can be unnerving. In the scene in which Hamlet says the aforementioned line, he is discussing dreams with his peers Rosencrantz and Guildenstern. Hamlet states that he feels as though the world is a prison, because he is constantly thinking and “bound” to his mind: including his thoughts, fears, and his bad dreams. He goes on to state that “a dream itself is but a shadow,” implying that his dreams bring him a sense of unease and fear, following him in a way he can never reach or understand, reflective of his mental state throughout the show.

I chose the Persistence of Memory to represent this quote, because I feel as though it encapsulates the uneasy feeling that dreams bring Hamlet. Hamlet is a tale of a man who constantly battles with his tendency to overthink, and Dalí successfully demonstrates how the subconscious can be a murky and unpredictable place to Hamlet (and humanity as a whole).

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“ ‘Tis now the very witching time of night, when churchyards yawn, and hell itself breathes out contagion to this world. Now could I drink hot blood, and do such bitter business as the day would quake to look on.” Hamlet says this in Act 3 Scene 2 as he is expressing how truly upset he is with the fact that his mother has remarried to Claudius, so much so that he feels as though he could cause harm. This quote reminded me of Vision After The Sermon, by Paul Gauguin. This painting depicts Jacob wrestling with an angel in the church courtyard. Jacob is in a headlock with the Angel Gabriel, which represents Gauguin's internal struggles. The bright orange on the canvas as well as the wrestling are both symbolic in evoking emotions like anger and internal battle. Hamlet feels this internal battle, as he is consumed in this anger and hatred for his mother and Claudius, as well as his need for revenge for his father. He knows that he could never truly do any harm to his mother, but he is constantly conflicted between the fact that she is his blood, and the fact that she has betrayed both him and his father by marrying Claudius.

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“The lady doth protest too much methinks.” - Gertrude

In this scene Hamlet puts on the play “The Mousetrap” to try and catch the conscious of the king. This play is also to target his mother who remarried to Claudius (his uncle). The painting “Vision After the Sermon” has a bright orange background which highlights Jacob wrestling with an angel. Just like in the painting the underlying intentions are brought to light by Hamlet’s bold commentary such as “Madam, how like you this play?” after the “player queen” promises to never remarry once the “player king” is dead. In response Gertrude replies “The lady doth protest too much methinks.” Her response is basically the equivalent of her saying “I get that you’re upset but you’re laying it on a little thick.” Hamlet is pushing the fact that she was supposed to be loyal to his real father like the “player queen.” Jacob symbolizes internal struggle which can be compared to Hamlet’s own internal struggles which Gertrude believes to be her new marriage to his uncle. However the internal struggles are over the murder of his father by Claudius. The women in the painting who are watching the fight can do nothing. They can be connected to Gertrude seeing Hamlet’s inner struggle however she has not idea that the struggle (angel) is over the fact he can not avenge his father yet.

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Hamlet Quote:

“What is a man

If his Chief good and market of his time

Be but to sleep and feed? A beast, no more.”

-Hamlet(IV.iv.33-35)

The context behind this quote begins when Claudius tells Hamlet that he will be sent to England while disclosing to the audience that he’s sending Hamlet to his death. Hamlet meets Fortinbras’ army who are on their way to Poland. In the excerpt given, he starts to get motivation to avenge his fathers death regardless if it’s bloody or not. Autumn Rhythm #30 by Pollack was made by taking the canvas off the easel and walking through the painting. This led to controlled chaos. This directly contrasts this Hamlet quote and shows how impulsive Hamlet is and how he is able to make a chaotic decision that quickly. He displays uncontrolled chaos. This is because of his poor decision making skills that lead to bad impulsive decisions. Pollack, however, uses controlled chaos in this painting. This is because even though it looks chaotic, all the elements were controlled. Additionally in Autumn Rhythm #60,  Pollack wanted to speak to the post World War 2 anxiety and sort of soothe the public by leaving the canvas raw and exposed to allow the elements to work together. However in the quote, Hamlet acts the opposite and is getting riled up to avenge his father, doing the opposite of soothing the public. This is because by avenging his father, he implies he wants to kill Claudius and that will cause anxiety to the public of Denmark.

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Delaney - Something is rotten in the state of Denmark —Marcellus 

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Delaney - Something is rotten in the state of Denmark —Marcellus 

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This line was said after Marcellus, Hamlet, and Horatio saw and spoke to the ghost of old Hamlet. Hamlet as a play is in a state of war. So I picked Guernica by Pablo Picasso since this painting portrays the aftermath of war. It’s filled with chaos, sadness, anger. Which Picasso painted after Guernica the town in Spain was killed by Nazis during the Spanish American War. Guernica is the after math of war, and what it does to people. All these emotions can be connected to Young Hamlet after the death of his father, and connects to “something is rotten in the state of Denmark” since the ghost of old Hamlet is wearing the armor he wore when fighting Norway, and since at this time in the play his death was thought to be connected to the war with Norway. This line and painting both show how the after effects of war always lead to sadness, anger, and rottenness. Which the people in Spain lived through and Hamlet let consume him.

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Quote: “To be or not to be— that is the question—
Whether ‘tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them.”
Painting: Vision After the Sermon (Jacob Wrestling with the Angel)  by Gauguin.

In one of Hamlet’s most famous quotes, he is discussing the idea of life & death and the philosophy behind it. He questions if it is better to continue through life while facing its struggles and torment, or to die and face the unknown which could bring more harm than life. In the painting, “Vision After the Sermon”, similar philosophies are portrayed. I chose this painting because Gauguin puts a focus on his religious experience and sought existential questions through his art, as Hamlet did in his state of grief. The image of Jacob wrestling the angel within this painting can be compared to Hamlet struggling with the thought of death. They are both experiencing an internal struggle of religion, philosophy, and spirituality.

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Sophia E. Orange and Yellow and "Words, words,words”- Hamlet

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Sophia E. Orange and Yellow and "Words, words,words”- Hamlet

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In the context of the book, this is in Act 2 Scene 2 after Polonius sets up his “master plan” to talk to Hamlet and discover for what reason he is upset. He opens the conversation with saying “What do you read my lord” and Hamlet replies with this specific  quote to suggest that what he is reading is with no meaning. He is so sad and depressed and numb to his surroundings that what he is reading has no meaning at all to him. Rothko demonstrates this idea of "no meaning” as well with his overall belief that art isn’t an emotional experience but instead a feeling. Orange and Yellow and many other of Rothkos paintings were meant for individual interpretation with no forced emotion you were supposed to feel. It was to allow for his viewers to connect the painting to their own life and experiences. That’s why many of his paintings were untitled. He wants his viewers to look at the painting with there own point of view with a main goal of feeling something or (in the case of Hamlet) feel nothing at all.

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“There is special providence in the fall of a sparrow. It it be now, ‘tis not to come; if it be not to come, it will be now; if it be not now, yet it will come - the Readiness is all.”

This quote by Hamlet directly reminded me of the piece Autumn Rhythm (Number 30) by Pollock. Since the quote is explaining how our destiny's will come, and the uncontrollable of death will happen when it is supposed to. Meaning if something is fated to happen it will happen. This connected me to the painting by Pollock because though he is making choices in the painting he is also letting the paint take over, and allows it to fall where it is destined to. His paintings can become different things caused by the paint going wherever it wants to. At this point in the play Hamlet is also finding a sense of acceptance for the first time realizing that even with “The fall of sparrow” life goes on and it is all for a reason in the end. I also see a Parallel between Hamlet and Pollocks life with Pollocks outlet for alcoholism being painting and Hamlets being theater for his fathers death.

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“Get thee to a nunnery - Why wouldst thou be a breeder of sinners?” I chose the painting Autumn Rhythm (Number 30) by Pollock as I feel it best connects to Hamlet’s state of mind when we hear this quote. In his rant to Ophelia, Hamlet demonstrates his ‘crazy demeanor’ which he initially describes in the story as an act put on because he is a student of theatre using this method to avenge his father and serve justice to Claudius. Although the audience may take his act of craziness at face value, It is entirely possible that Hamlet has actually gone mad and he could not only be conflicted with his meanings, but also with himself. The meaning of nunnery is a debated topic in Hamlet, with some taking its literal meaning of a holy place for nuns, and others taking the slang meaning being an unholy place such as a brothel. I think that the double meaning of brothel is intentional by Hamlet because of his state of mind. On the one hand, his meaning can be literal, truly believing that Ophelia is too innocent to be a part of his fight with Claudius. By denouncing his love and directing her to a nunnery, he could be trying to remove Ophelia out of a bad situation because he cares for her. Him pushing her away by calling her a breeder of sinners could also be an attempt to have Ophelia remove herself from the bad situation that was unfolding. However nunnery can mean brothel at the same time, where Hamlet truly believes that all women are evil as a result of his toxic relationship with his mother. It is entirely possible that Hamlet is experiencing both emotions at the same time, something that cannot be explained by logic.

That’s where Pollock’s Autumn Rhythm applies here. As a movement, Abstract Expressionism sought to create a medium to represent emotions, not ideas. There is no recognizable theme or didactic from Pollock’s painting. It is simply trying to capture a human emotion from a specific moment in time and allows the viewer to apply their own meaning to the image. Pollock’s methods had elements of randomness inside of his paintings, as there was meant to be a controlled chaos to his works. Some emotions cannot be controlled or described even if you tried your hardest. Hamlet’s division of his mind, his mixed feelings towards Ophelia and the world in general really aren’t controlled elements and more an attempt to control his chaos. So that’s why I connected this quote from Hamlet to this painting from Pollock.

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In Act 5 scene 1, Hamlet just returned from his journey to England and is in a graveyard talking to the gravediggers. Hamlet exclaims,

“Alas, poor Yorick! I knew him, Horatio

A fellow of infinite jest…”

while literally holding the skull of the King’s former court jester, Yorick, who passed away. This theme of contemplating death and mortality is a recurring theme throughout the novel as Hamlet constantly explores the depths of his depression due to the events relating to the death of his father and vengeance surrounding him.

Van Gogh, similarly to Hamlet, explored the concepts of mortality and death throughout his life as he struggled mentally as well, being sent to a mental asylum where he painted one of the hallmarks in art history. In Van Gogh’s “Starry Night,” he depicts a scene of the night sky which he saw through the window of the asylum he was staying in. He expresses his feelings and his subjective perception of the world through his painting by employing the elements of color theory, light, and texture (impasto).

Moreover, he adds a cypress tree in the left of his painting which represents death in mediterranean countries. This connects to Hamlet’s psychology as Hamlet is reflecting on those around him who passed and is the epitome of a character who cannot make up his mind in a world that doesn’t understand him, similarly to how Van Gogh was stuck in a world that didn’t understand or recognize him either at the time that he was alive.

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The quote I was given was “Let me not think on’t; frailty thy name is woman.” which was spoken by Hamlet in Act 1 Scene 2. It was a part of his “too too sullied flesh” monologue that blames his mother for moving on too quickly from his father, and how much better a king Old Hamlet was compared to Claudius. In this quote he shares a lot of hatred, anger, and confusion as to the weakness of his mother, and how she, as a woman, has no awareness of her proper grieving time for her late husband. It is a pivotal moment in the play, because it shares how Hamlet begins to have a negative attitude to more women in his life (such as Ophelia).

I connected this quote to the painting above because in this example of neo-classical art, it exemplifies a relationship similar to that of Claudius and Gertude. I view Mr. Izard as Claudius, and Mrs. Izard as Gertrude very clearly in this picture due to all of the active focus on the man, giving him full control over the attention and attitude of the scene, similarly to how it is when Claudius rules as king of Denmark. Mrs. Izard is also gazing subservient to him, just as Gertrude does to Claudius in this book. It reflects the nature of the rule in this time, and represents the relationship that Hamlet loathes. Even the other salient features in this painting (detail, perspective, chiaroscuro, etc) add to the overall feel of the painting: important man and subservient wife, just as Hamlet claims to despise between his “parents”. The large amounts of riches within the painting, fancy clothes, and wealthy atmosphere contributes to the idea of royalty, which connects to the monarchy of Denmark.

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“There is special providence in The fall of a sparrow. It is be now, ‘it’s not come; if it be not To come, it will be now, if it be now, yet it will, come - the Readiness is all” - Hamlet (V.ii. 192-195)

I think this quote can be connected with many paintings that we have learned about in class but the one that I think it connects to the most is Vision After the Sermon by Gauguin. When looking at this quote the first line talks about a “special providence” which in this quote refers to the protective care of God, even for an animal that’s as small as a sparrow. This acknowledgment of divine powers is something that is also seen in the painting done by Gauguin as the woman are having a spiritual vision of Jacob wrestling an angel after listening to a sermon. Not only do both of these pieces connect religiously but they also connect on the idea of Fate and divine will. The vision experienced by the woman show the acceptance of what they have heard in the sermon and Jacob wrestling the angel symbolizes and shows the struggle with the divine. Hamlet’s quote also connects to this as he talk about Fate and the future. His quote (in reference to death) is saying that no matter what something will come, as if it meant to come now it won’t come in the future, if it is meant to come in the future it won’t come now, and if it is not meant to come now or the future, it will come eventually. Both of these works show their acceptance of the divine/fate, as the woman in the painting have accepted a new perspective of the vision after listening to the sermon while Hamlet seems to have accepted death and as he states at the end “Readiness is all” which is his own transformation as his readiness to face his own fate no matter what the consequences and outcomes are show his own spiritual change.

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The Broken Column by Frida Kahlo

Quote:

“At such a time I’ll loose my daughter to him.”

-Polonius

In the context of this quote, Polonius is talking about Hamlet’s recent interactions with Ophelia after pretending to have gone mad. Polonius acts quite possessive of Ophelia and, similarly to an animal, says that he will not “loose” his daughter to Hamlet. This restraint is able to be seen through Kahlo’s artwork and also her life story. Kahlo suffered a car accident that left her with a broken spine, bedridden, and prone to injury and disease. Here, Kahlo expressed her emotions through her artwork. She was unable to leave her hospital bed and, like Ophelia, had much of her freedom restricted. The Broken Column shows her rigid prosthetic spine, nails along her body, and tears from her face to represent the immense pain that she expressed only through her artwork. Throughout their lives, both women were seen less as their own person. For example, Kahlo was often overshadowed by her muralist husband, while Ophelia wasn’t able to freely express herself due to her father controlling the things she would do or say. Not only did the lives of Kahlo and Ophelia have similarities, but also their deaths. Kahlo, after undergoing numerous surgeries, was in immense pain, and after enduring this pain for many years, Kahlo overdosed on painkillers. Ophelia, after hearing the news of her fathers death, goes into a manic state, where she fell into a river and did not make an effort to save herself. This idea of restraint is heavily present are large factors in the tragic lives of both women.

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“I have of late, but wherefore I know not, lost all my mirth, forgone all custom of exercises;” (Act 2, Scene 2)

This quote reminded me of the painting Starry Night by Vincent van Gogh. Considering Vincent’s back story regarding his struggles and battle with mental illness, I felt that it matched up well with this quote. In this quote Hamlet is explaining the melancholy that has afflicted him since his father’s death. The quote states, “lost all my mirth,” meaning that Hamlet has lost all of his amusement, which gives a sense of despair and hopelessness. Similarly, van Gogh battled with mental illness and made this painting from the window of his room in a mental hospital in a time of his own despair making this quote and painting connect. The second part of the quote reads, “forgone all custom of exercises,” which is Hamlet’s way of saying that due to his despair, his joy is being repulsed and held back so he is not himself. This connects well with Van Gogh, as his moods were up and down. There were times where he would spiral or go into a dark place such as when he cut his ear off. Because of this, I feel that it connects well with the painting. The painting itself also goes well with the quote, as the quote is giving off a mellow and somber tone and so is the painting. The elements of the nighttime and darkness connect with the quote. As well as the very still, eerie, and quiet atmosphere. Overall, the quote, backstory of the painter, and artistic elements tie together.

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Peyton Forde: ‘Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me.

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Peyton Forde: ‘Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me.

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Two sisters (on the terrace) by Renoir

Within the play, Hamlet confronts suspicions he’s had of his friend who have been acting as a sentinel for Claudius. He uses instruments which he alluded to be as easy to play as lying, a person meant to be by his side, but instead working as another’s eyes. This is similar to the type of supervision families have over their young, who are not yet responsible for themselves, not a prince who should hold the throne. Renoir's painting of ‘Two Sisters’ depicts a noticeably older sibling to the youthful sister. The eldest having this sideward glance, peering out at something viewers nor sister  cannot. Vines are cascading around, boxing them in while they have bright botanicals on their hats, providing the mix of movement and color expressionists tend to apply. While the water and fence surrounds them, they are sheltered by the brightness of the world, which is deception within itself.

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Two Sisters (On the Terrace)

Date:

1881

Artist:

Pierre-Auguste Renoir
French, 1841-1919

About this artwork

"He loves everything that is joyous, brilliant, and consoling in life," an anonymous interviewer once wrote about Pierre-Auguste Renoir. This may explain why Two Sisters (On the Terrace) is one of the most popular paintings in the Art Institute. Here Renoir depicted the radiance of lovely young women on a warm and beautiful day. The older girl, wearing the female boater's blue ﬂannel, is posed in the center of the evocative landscape backdrop of Chatou, a suburban town where the artist spent much of the spring of 1881. She gazes absently beyond her younger companion, who seems, in a charming visual conceit, to have just dashed into the picture. Technically, the painting is a tour de force: Renoir juxtaposed solid, almost life-size figures against a landscape that-like a stage set-seems a realm of pure vision and fantasy. The sewing basket in the left foreground evokes a palette, holding the bright, pure pigments that the artist mixed, diluted, and altered to create the rest of the painting. Although the girls were not actually sisters, Renoir's dealer showed the work with this title, along with Acrobats at the Cirque Fernando and others, at the seventh Impressionist exhibition, in 1882.

Status

On View, Gallery 201

Department

Painting and Sculpture of Europe

Artist

Pierre-Auguste Renoir

Title

Two Sisters (On the Terrace)

Place

France (Artist's nationality)

Date

1881

Medium

Oil on canvas

Inscriptions

Inscribed at lower right: Renoir '81

Dimensions

100.4 × 80.9 cm (39 1/2 × 31 7/8 in.)

Credit Line

Mr. and Mrs. Lewis Larned Coburn Memorial Collection

Reference Number

1933.455

IIIF Manifest

https://api.artic.edu/api/v1/artworks/14655/manifest.json

Extended information about this artwork

Ernest Hoschedé, L'art de la mode (1881), (ill.).

Catalogue de la 7me exposition des artistes independants, exh. cat. (Morris Pére et Fils, 1882), cat. 138.

La Fare, "Exposition, des impressionnistes," Le gaulois, Mar. 2, 1882, p. 2.

Henry Havard, "Exposition des artistes indépendants," Le siécle, Mar. 2, 1882, p. 2.

A. Hustin, "L'exposition des peintres indépendants," L'estafette, Mar. 3, 1882, p. 3. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874-1886; Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), p. 395.

Draner, "Une visite aux impressionnistes," Le charivari, Mar. 9, 1882, p. 3. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874-1886; Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 386, 417.

A. Hustin, "L'exposition des impressionnistes," Moniteur des arts (Mar. 10, 1882), p. 1. Reprinted in Ruth Berson, ed., The New Painting: Impressionism, 1874-1886; Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), p. 396.

Durand-Ruel, Catalogue de l'exposition des oeuvres de P.-A. Renoir, exh. cat. (Pillet & Dumoulin, 1883), p. 12, cat. 30.

Ph. B. [Philippe Burty], "Les peintures de M. P. Renoir," La republique française (Apr. 15, 1883), p. 3.

American Art Association, Works in Oil and Pastel by the Impressionists of Paris, exh. cat. (J. J. Little/American Art Galleries, 1886), p. 31, cat. 181.

American Art Association, Works in Oil and Pastel by the Impressionists of Paris, exh. cat. (National Academy of Design, 1886), p. 45, cat. 181.

Georges Lecomte, L'art impressionniste d'après la collection privée de M. Durand-Ruel (Chamerot & Renouard, 1892), pp. 137 (ill.), 204, 207.

Durand-Ruel, Paris, Exposition A. Renoir, exh. cat. (Imp. de l'Art/E. Ménard, 1892), pp. 33; 34; 46, cat. 92.

Richard Muther, The History of Modern Painting, vol. 2 (Henry, 1896), p. 748 (ill.).

Durand-Ruel, Paris, Exposition de tableaux de Monet, Pissarro, Renoir & Sisley, exh. cat. (Imp. de l'Art, 1899), p. 11, cat. 81.

Camille Mauclair, "L'oeuvre d'Auguste Renoir," L'art décoratif 41, pt. 1 (Feb. 1902), pp. 173 (ill.), 179.

Camille Mauclair, "L'oeuvre d'Auguste Renoir," L'art décoratif 42, pt. 2 (Mar. 1902), p. 224.

Camille Mauclair, The Great French Painters and the Evolution of French Painting from 1830 to the Present Day, trans. P. G. Konody (E. P. Dutton, [1903]), pp. 112, 114 (ill.).

Wynford Dewhurst, Impressionist Painting: Its Genesis and Development (Newnes, 1904), p. 52.

Maurice Hamel, "Le salon d'automne," Les arts 35 (Nov. 1904), p. 35 (ill.).

Camille Mauclair, L'impressionnisme: Son histoire, son esthétique, ses maîtres, 2nd ed. (Librairie de l'Art Ancien et Moderne, 1904) pp. 112, 137-138. Translated by P. G. Konody as The French Impressionists (1860-1900) (Duckworth/E. P. Dutton, [1903]), pp. 120, 124.

Octave Maus, Exposition des peintres impressionnistes, exh. cat. (Libre Esthétique, 1904), p. 43, cat. 130.

Léon Plée, "Le salon d'automne," Les annales politiques & littéraires 43, 1113 (Oct. 23, 1904), pp. 257; 261; (ill.).

Société du Salon d'Automne, Catalogue de peinture, dessin, sculpture, gravure, architecture et arts décoratifs, exh. cat. (Hérissey, 1904), p. 114, no. 12.

Grafton Galleries, Pictures by Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley, Exhibited by Messrs. Durand-Ruel & Sons, exh. cat. (Strangeways and Sons, 1905), p. 22, cat. 239.

Grafton Galleries, A Selection from the Pictures by Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley (Durand-Ruel and Sons, 1905), p. 35, cat. 239 (ill.).

Henry Morison, "Auguste Renoir, Impressionist," Brush and Pencil 17, 5 (May 1906), pp. 201, 203.

British Art Committee, Souvenir of the Fine Art Section, Franco-British Exhibition, 1908, Complied by Sir Isidore Spielmann (Bemrose & Sons, 1908), pp. 101; 309.

Franco-British Exhibition, Catalogue of the Fine Art Section, 4th ed., exh. cat. (Bemrose and Sons, 1908), p. 181, no. 397.

Vittorio Pica, Gl'impressionisti francesi (Istituto Italiano d'Arti Grafiche, 1908), pp. 84 (ill.), 98.

Arsène Alexandre, "Exposition d'art moderne á hotel de la revue 'Les arts,'" Les arts 128 (Aug. 1912), pp. 5, no. 7 (ill.); 12.

Moderne Galerie Heinrich Thannhauser, Ausstellung Auguste Renoir, exh. cat. (R. Piper, [1912]), cat. 9.

Manzi, Joyant & Cie, Exposition d'art moderne, exh. cat. (Manzi, Joyant, 1912), cat. 180.

Bernheim-Jeune, Renoir, with a preface by Octave Mirbeau (Bernheim-Jeune, 1913), p. 19.

Zürcher Kunsthaus, Französische Kunst des XIX. u. XX. Jahrhunderts, exh. cat. (Neue Zürcher Zeitung, 1917), p. 24, cat. 169.

Ambroise Vollard, Tableaux, pastels & dessins de Pierre-Auguste Renoir, vol. 1 (A. Vollard, 1918), pp. 84, no. 334 (ill.); 177.

Georges Lecomte, "L'oeuvre de Renoir," L'art et les artistes 4, 14 (Jan. 1920), pp. 146, 147 (ill.).

Willy Burger, "August [sic] Renoir," Die Kunst für Alle 35 (Feb. 9/10, 1920), p. 169 (ill.).

Georges Rivière, Renoir et ses amis (H. Floury, 1921), opp. p. 134 (ill.).

Durand-Ruel, Paris, Tableaux pastels-dessins par Renoir, exh. cat. (Imp. de l'Art, 1920), cat. 52.

Paul Jamot, "Renoir (1841-1919)," Gazette des beaux-arts 8, 5, pt. 2 (Dec. 1923), pp. 323, 325 (ill.).

François Fosca, Renoir (F. Rieder, 1923), pp. 20; 62; pl. 25. Translated by Hubert Wellington as Renoir, Masters of Modern Art (Dodd, Mead, 1924), pp. 5; 21-22; pl. 18.

Ambroise Vollard, Renoir: An Intimate Record, trans. Harold L Van Doren and Randolph T. Weaver (Knopf, 1925), p. 240.

Royal Cortissoz, Seven Paintings by Renoir (Durand-Ruel, c. 1923), pp. 7, 8, 9, 22-23 (ill.).

Royal Cortissoz, Personalities in Art (Charles Scribner's Sons, 1925), pp. 279, 281, 282.

Royal Cortissoz, "Auguste Renoir and the Cult for Beauty," International Studio 90, 375 (Aug. 1928), p. 20.

Julius Meier-Graefe, Renoir (Klinkhardt & Biermann, 1929), p. 142, no. 119 (ill.).

Carroll Carstairs, "Renoir," Apollo 10, 55 (July 1929), p. 36 (ill.).

Royal Cortissoz, The Painter's Craft (Charles Scribner's Sons, 1930), p. 233.

Reginald Howard Wilenski, French Painting (Hale, Cushman & Flint, 1931), p. 262.

"On the Terrace: From a Painting by August [sic] Renoir," Christian Science Monitor 24, 201 (July 22, 1932), p. 7 (ill).

Daniel Catton Rich, "The Bequest of Mrs. L. L. Coburn," Bulletin of the Art Institute of Chicago 26, 6 (Nov. 1932), pp. 67 (ill.), 68.

Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, exh. cat. (Art Institute of Chicago, 1932), pp. 6; 23, no. 33; 51, no. 33 (ill.).

Art Institute of Chicago, Catalogue of "A Century of Progress": Exhibition of Paintings and Sculpture, exh. cat. (Art Institute of Chicago, 1933), pp. 49-50, cat. 348.

Art Institute of Chicago, Bulletin of the Art Institute of Chicago, Report for the Year Nineteen Hundred Thirty-Two 27, 3, pt. 2 (Mar. 1933), p. 22 (ill.).

Art Institute of Chicago, "The Century of Progress Exhibition of the Fine Arts," Bulletin of the Art Institute of Chicago 27, 4 (Apr.-May 1933), p. 67.

Art Institute of Chicago, "The Rearrangement of the Paintings Galleries," Bulletin of the Art Institute of Chicago 27, 7 (Dec. 1933), p. 115.

Daniel Catton Rich, "Art in Chicago," Vogue 82, 2 (July 15, 1933), p. 38 (ill.).

Daniel Catton Rich, "The Exhibition of French Art: 'Art Institute' of Chicago," Formes 33 (1933), (ill.).

Art Institute of Chicago, Catalogue of "A Century of Progress": Exhibition of Paintings and Sculpture, 1934, exh. cat. (Art Institute of Chicago, 1934), p. 40, cat. 237.

Clarence Joseph Bulliet, Art Masterpieces in a Century of Progress Fine Arts Exhibition at the Art Institute of Chicago, vol. 2 (Chicago Daily News/North-Mariano Press, 1933), no. 116 (ill.).

Toledo (Ohio) Museum of Art, French Impressionists and Post-Impressionists, exh. cat. (Toledo Museum of Art, 1934), cat. 15.

Albert C. Barnes and Violette de Mazia, The Art of Renoir (Minton, Balch, 1935), pp. 77; 78; 79; 83; 84; 86; 270, no. 119 (ill.); 405-06, no. 119; 453.

Claude Roger-Marx, Renoir, Anciens et Modernes (H. Floury, 1937), p. 85 (ill.).

Durand-Ruel, New York, Views of the Seine by Monet, Pissarro, Renoir, Sisley, exh. cat. (Durand-Ruel, 1937), cat. 6 (ill.).

Yale University Gallery of Fine Arts, An Exhibition of French Paintings of the Nineteenth Century, exh. cat. (Yale University Press, 1937), cat. 1.

Henry McBride, "The Renoirs of America: An Appreciation of the Metropolitan Museum's Exhibition," Art News 35, 31 (May 1, 1937), pp. 60, 73 (ill.).

Théodore Duret, Renoir, trans. Madeleine Boyd (Crown, 1937), pl. 3.

Lionello Venturi, Les archives de l'impressionnisme: Lettres de Renoir, Monet, Pissarro, Sisley et autres; Mémoires de Paul Durand-Ruel; Documents, vol. 2 (Durand-Ruel, 1939), p. 268.

Reginald Howard Wilenski, Modern French Painters (Reynal & Hitchcook, [1940]), opp. p. 39, pl. 12; p. 8.

Charles Terrasse, Cinquante portraits de Renoir (Librairie Floury, 1941), p. 6; pl. 22.

Duveen Galleries, Renoir: Centennial Loan Exhibition, 1841-1941; For the Benefit of the Free French Relief Committee (Vilmorin/Bradford, 1941), pp. 57, cat. 35 (ill.); 139, cat. 35.

Art Institute of Chicago, "Department of Reproductions," Bulletin of the Art Institute of Chicago 38, 2 (Feb. 1944), p. 28.

Art Institute of Chicago, "Department of Reproductions," Bulletin of the Art Institute of Chicago 38, 5 (Sept.-Oct. 1944), p. 85.

Art Institute of Chicago, "Department of Reproductions," Bulletin of the Art Institute of Chicago 38, 7 (Dec. 1944), p. 116 (ill.).

Art Institute of Chicago, An Illustrated Guide to the Collections of the Art Institute of Chicago (Art Institute of Chicago, 1945), p. 36.

"Chicago Perfects Its Renoir Group," Art News 44, 16, pt. 1 (Dec. 1-14, 1945), p. 18.

Hans Huth, "Impressionism Comes to America," Gazette des beaux-arts 29 (1946), p. 239, n. 22.

Louis Zara, ed., Masterpieces, Home Collection of Great Art 1 (Ziff-Davis, 1950), cover (ill.), pp. 4, 117.

Art Institute of Chicago, Masterpieces in the Art Institute of Chicago (Art Institute of Chicago, 1952), (ill.).

Charles Fabens Kelley, "Chicago: Record Years," Art News 51, 4 (June-Aug. 1952), p. 54 (ill.).

Dorothy Bridaham, Renoir in the Art Institute of Chicago (Conzett & Huber, 1954), front cover; pl. 5.

M. K. R., "An Exhibition for Paris," Art Institute of Chicago Quarterly 49, 2 (Apr. 1955), p. 29.

Art Institute of Chicago, "Notes," Art Institute of Chicago Quarterly 50, 3 (Sept. 15, 1956), p. 59.

Wildenstein, Renoir: A Loan Exhibition for the Benefit of the Citizens' Committee for Children of New York City, Inc. (Gallery Press, 1958), p. 45, no. 31 (ill.).

François Fosca, Renoir: L'homme et son oeuvre (A. Somogy, 1961), pp. 85, 117 (ill.), 281. Translated by Mary I. Martin as Renoir, His Life and Work (Prentice-Hall, 1962), pp. 85, 113 (ill.), 269.

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961), pp. 283 (ill.), 396-97.

René Gimpel, Journal d'un collectionneur, marchand de tableaux (Calmann-Lévy, 1963), pp. 181, 225. Translated by John Rosenberg as Diary of an Art Dealer (Farrar, Straus and Giroux, 1966), pp. 157, 212.

Walter Pach, Pierre-Auguste Renoir, Library of Great Painters (Abrams, [1964]), pp. 70-71 (ill.).

Frederick A. Sweet, "Great Chicago Collectors," Apollo 84 (Sept. 1966), p. 203.

Charles C. Cunningham, Instituto de arte de Chicago, El mundo de los museos 2 (Editorial Codex, 1967), pp. 12, ill. 33 and ill. 34; 58, fig. 3; 59 (detail).

André Parinaud, Art Institute of Chicago, Grands musées 2 (Hachette-Filipacchi, [1968]), pp. 36, ill. 3; 37 (detail); 69, ill. 33 and ill. 34.

Elda Fezzi, Renoir (Sadea/Sansoni, 1968), pp. 21; 36; fig. 31. Translated into French by Simone de Vergennes as Renoir, Les petits classiques de l'art (Flammarion, 1969), p. 34; pl. 31.

Charles C. Cunningham and Satoshi Takahashi, Shikago bijutsukan [Art Institute of Chicago], Museums of the World 32 (Kodansha, 1970), pp. 48, pl. 34; 49, pl. 35 (detail); 159.

John Maxon, The Art Institute of Chicago (Abrams, 1970), p. 87 (ill.).

François Daulte, Auguste Renoir: Catalogue raisonné de l'oeuvre peint, vol. 1, Figures, 1860-1890 (Durand-Ruel, 1971), pp. 268-69, cat. 378 (ill.).

Art Institute of Chicago, "Summer Gallery Talks," Calendar of the Art Institute of Chicago 65, 3 (May-Aug. 1971), p. 18.

Art Institute of Chicago, "Exhibition Schedule," Calendar of the Art Institute of Chicago 66, 2 (Mar. 1972), p. 7 (ill.).

Elda Fezzi, L'opera completa di Renoir: Nel periodo impressionista, 1869-1883, Classici dell'arte 59 (Rizzoli, 1972), p. 109, cat. 471 (ill.).

Art Institute of Chicago, "Lecturer's Choice," Bulletin of the Art Institute of Chicago 67, 4 (Jul.-Aug. 1973), p. 11.

Art Institute of Chicago, Paintings by Renoir, exh. cat. (Art Institute of Chicago, 1973), pp. 26; 96-97, cat. 34 (ill.); 210-11; 212; 213 (ill.); 214.

John Rewald, "Jours sombres de l'impressionnisme, Paul Durand-Ruel et l'expostition des impessionnistes, à Londres, en 1905," L'oeil 223 (Feb. 1974), pp. 15 (ill.), 18.

Art Institute of Chicago, 100 Masterpieces (Art Institute of Chicago, 1978), pp. 102-03, pl. 58.

Patricia Erens, Masterpieces: Famous Chicagoans and Their Paintings (Chicago Review, 1979), p. 57.

J. Patrice Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (Crown, 1979), front cover (detail), p. 106.

Sophie Monneret, L'impressionnisme et son époque: Dictionnaire international illustré, vol. 2 (Denoël, 1979), pp. 172, 175.

Joel Isaacson, The Crisis of Impressionism, 1878-1882, exh. cat. (University of Michigan Museum of Art, 1980), p. 32.

Diane Kelder, The Great Book of French Impressionism (Abbeville, 1980), pp. 260 (ill.), 261 (detail), 438.

Diane Kelder, The Great Book of French Impressionism, Tiny Folios (Abbeville, 1980), back cover (ill.); p. 161, pl. 20.

Art Institute of Chicago, "Special Programs," Bulletin of the Art Institute of Chicago 75, 1 (Jan.-Mar. 1981), p. 19.

Gerd Betz, Auguste Renoir: Leben und Werk (Belser, 1982), pp. 44, 51 (ill.).

Barbara Ehrlich White, Renoir: His Life, Art, and Letters (Abrams, 1984), pp. 104-05 (ill.), 106.

Art Institute of Chicago, Seibu Museum of Art, Kyoto Municipal Museum of Art, and Fukuoka Art Museum, eds. Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], trans. Akihiko Inoue, Hideo Namba, Heisaku Harada, and Yoko Maeda, exh. cat. (Nippon Television Network, 1985), front cover (ill.); pp. 18 (ill.); 81, cat. 35 (ill.); 146; 147, cat. 35 (ill.).

Joel Isaacson, "The Painters Called Impressionists," in The New Painting: Impressionism, 1874-1886, ed. Charles S. Moffett, with Ruth Berson, Barbara Lee Williams, and Fronia E. Wissman, exh. cat. (Fine Arts Museums of San Francisco, 1986), pp. 387, 394, 395.

Richard R. Brettell, French Impressionists (Art Institute of Chicago/Abrams, 1987), pp. 55, 70 (ill.), 71, 119.

Ministry of Culture; State Hermitage Museum; Pushkin State Museum of Fine Arts; Metropolitan Museum of Art, New York; and Art Institute of Chicago, Ot Delakrua do Matissa: Shedevry frantsuzskoi zhivopisi XIX-nachala XX veka, iz Muzeia Metropoliten v N'iu-Iorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Masterpieces of French painting of the nineteenth to the beginning of the twentieth century from the Metropolitan Museum of Art, New York, and the Art Institute of Chicago], trans. from English by Iu. A. Kleiner and A. A. Zhukov, exh. cat. (Avrora, 1988), p. 64.

Sophie Monneret, Renoir, Profils de l'art (Chêne, 1989), p. 153, fig. 15.

Rachel Barnes, ed., Renoir by Renoir, Artists by Themselves (Webb & Bower, 1990), pp. 40-41 (ill.). Translated into Japanese by Reiko Kokatsu as Runowaru (Renoir), Nikkei Pocket Gallery (Nihon Keizai, 1991), pp. 46-47 (ill), 87.

David Bomford, Jo Kirby, John Leighton, and Ashok Roy, Art in the Making: Impressionism exh. cat. (National Gallery, London/Yale University Press, 1990), pp. 190; 191, pl. 200.

Lesley Stevenson, Renoir (Bison Group, 1991), pp. 106-07 (ill.), 109.

Martha Kapos, ed., The Impressionists: A Retrospective (Hugh Lauter Levin/Macmillan, 1991), p. 234, pl. 74.

Anne Distel, Renoir: "Il faut embellir" (Gallimard/Réunion des Musées Nationaux, 1993), pp. 77 (ill. and details), 169. Translated as Renoir: A Sensuous Vision (Thames & Hudson, 1995), pp. 77 (ill. and details), 169.

Art Institute of Chicago, Treasures of 19th- and 20th-Century Painting: The Art Institute of Chicago, with an introduction by James N. Wood (Art Institute of Chicago/Abbeville, 1993), p. 87 (ill.).

Art Institute of Chicago, The Art Institute of Chicago: The Essential Guide, selected by James N. Wood and Teri J. Edelstein, entries written and compiled by Sally Ruth May (Art Institute of Chicago, 1993), p. 157 (ill.).

Gerhard Gruitrooy, Renoir: A Master of Impressionism (Todtri, 1994), pp. 49, 70 (ill).

Christie's, New York, Impressionist and Modern Paintings, Drawings and Sculpture (Part I), sales cat. (Christie's, New York, May 11, 1995), p. 38, fig. 1.

Ruth Berson, ed., The New Painting: Impressionism, 1874-1886; Documentation, vol. 1, Reviews (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 377, 386, 395, 396, 400, 417.

Ruth Berson, ed., The New Painting: Impressionism, 1874-1886; Documentation, vol. 2, Exhibited Works (Fine Arts Museums of San Francisco/University of Washington Press, 1996), pp. 210, 229 (ill.).

Francesca Castellani, Pierre-Auguste Renoir: La vita e l'opera (Mondadori, 1996), pp. 138, 149 (ill.).

Eliza E. Rathbone, "Renoir's Luncheon of the Boating Party: Tradition and the New," in Eliza E. Rathbone, Katherine Rothkopf, Richard R. Brettell, and Charles S. Moffett, Impressionists on the Seine: A Celebration of Renoir's "Luncheon of the Boating Party," exh. cat. (Phillips Collection/Counterpoint, 1996), p. 49.

Eliza E. Rathbone, Katherine Rothkopf, Richard R. Brettell, and Charles S. Moffett, Impressionists on the Seine: A Celebration of Renoir's "Luncheon of the Boating Party," exh. cat. (Phillips Collection/Counterpoint, 1996), pp. 216, pl. 58; 259.

Katherine Rothkopf, "From Argenteuil to Bougival: Life and Leisure on the Seine, 1868-1882," in Eliza E. Rathbone, Katherine Rothkopf, Richard R. Brettell, and Charles S. Moffett, Impressionists on the Seine: A Celebration of Renoir's "Luncheon of the Boating Party," exh. cat. (Phillips Collection/Counterpoint, 1996), p. 64.

Colin B. Bailey, with the assistance of John B. Collins, Renoir's Portraits: Impressions of an Age, exh. cat. (National Gallery of Canada/Yale University Press, 1997), pp. 175; 186-189, cat. 40 (ill.); 301, n. 14; 308-10, cat. 40. Translated by Danielle Chaput and Julie Desgagné, with support from Nada Kerpan for the texts by Linda Nochlin, as Les portraits de Renoir: Impressions d'une époque, exh. cat. (Gallimard/Musée des Beaux-Arts du Canada, 1997), pp. 175; 186-89, cat. 40 (ill.); 301, n. 14; 308-10, cat. 40.

Douglas W. Druick, Renoir, Artists in Focus (Art Institute of Chicago/Abrams, 1997), front cover (ill.); pp. 6; 43 (detail); 49; 50-51; 54-55; 72; 80; 93, pl. 12; 110.

Sophie Monneret, Sur le pas de impressionnistes (Éd. de la Martinière, 1997), p. 96.

Charles Moffett, "Pierre-Auguste Renoir, Young Women at the Water's Edge," in The Bellagio Gallery of Fine Art, Impressionists and Modern Masters, ed. Libby Lumpkin, exh. cat. (Bellagio Gallery of Fine Art, Mirage Resorts, 1998), pp. 47, 50 (ill.).

Kimbell Art Museum, "Renoir's Portraits: Impressions of an Age," Calendar (Aug. 1997-Jan. 1998), p. 14 (ill.).

Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 1999), p. 59 (ill.).

Art Institute of Chicago, Shikago bijutsukan [The Art Institute of Chicago], Museums of the World 22 (Kodansha, 2000), p. 20 (ill.).

Barbara Dayer Gallati, William Merritt Chase: Modern American Space, 1886-1890, exh. cat. (Brooklyn Museum of Art/Abrams, 2000), pp. 42; 43, fig. 11.

Belinda Thomson, Impressionism: Origins, Practice, Reception (Thames & Hudson, 2000), p. 206, ill. 207; 207; 268.

Paul Joannides, Renoir: Sa vie, son oeuvre (Soline, 2000), pp. 1 (detail), 90-91 (ill.).

Art Institute of Chicago, Impressionism and Post-Impressionism in the Art Institute of Chicago, selected by James N. Wood (Art Institute of Chicago/Hudson Hills, 2000), front cover (ill.); pp. 9, 10, 71 (ill.), 76.

Art Institute of Chicago, Treasures from the Art Institute of Chicago, selected by James N. Wood, commentaries by Debra N. Mancoff (Art Institute of Chicago/Hudson Hills, 2000), back cover (ill.); pp. 183, 206 (ill.).

Gilles Néret, Renoir: Painter of Happiness, 1841-1919, trans. Josephine Bacon (Taschen, 2001), pp. 2 (ill.), 440.

Simona Barrolena, Impressionismo (Mondadori Electa, 2002), p. 168 (ill.).

Sculpture Foundation, Solid Impressions: J. Seward Johnson, Jr. (Sculpture Foundation, 2002), pp. 60 (ill.), 70.

Philippe Cros, Pierre-Auguste Renoir (Terrail, 2003), pp. 84, 88-89 (ill.).

Corcoran Gallery of Art, Beyond the Frame: Impressionism Revisited; The Sculptures of J. Seward Johnson, Jr., with an essay by Petra Ten-Doesschate Chu (Bulfinch, 2003), p. 121 (ill.).

Norio Shimada, Inshoha bijutsukan [History of impressionism] (Shogakukan, 2004), p. 436 (ill.).

Aviva Burnstock, Klaas Jan van den Berg, and John House, "Painting Techniques of Pierre-Auguste Renoir: 1868-1919," Art Matters: Netherlandish Technical Studies in Art 3 (2005), p. 52.

Kyoko Kagawa, Runowaru [Pierre-Auguste Renoir], Seiyo kaiga no kyosho [Great Masters of Western Art] 4 (Shogakukan, 2006), p. 58 (ill.).

Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Nelson-Atkins Museum of Art/University of Washington Press, 2007), pp. 97; 98, fig. 33.

Colin B. Bailey, "Rowers at Chatou, 1880-1," in Renoir Landscapes, 1865-1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), pp. 212, fig. 102; 214. Translated by Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer as Colin B. Bailey, "Les canotiers à Chatou, 1880-1881," in Les paysages de Renoir 1865-1883, ed. Colin B. Bailey and Christopher Riopelle), exh. cat. (National Gallery, London/5 Continents, 2007), pp. 212, fig. 102; 214.

Colin B. Bailey, "'The Greatest Luminosity, Colour and Harmony': Renoir's Landscapes, 1862-1883," in Renoir Landscapes, 1865-1883, ed. Colin B. Bailey and Christopher Riopelle, exh. cat. (National Gallery, London, 2007), pp. 65, 70. Translated as Colin B. Bailey, "'Un maximum de luminosité; de coloration, et d'harmonie': Les paysages de Renoir, 1862-1883," in Les paysages de Renoir 1865-1883, ed. Colin B. Bailey and Christopher Riopelle, trans. Marie-Françoise Dispa, Lise-Éliane Pomier, and Laura Meijer, exh. cat. (National Gallery, London/5 Continents, 2007), pp. 65, 70.

Guy-Patrice Dauberville and Michel Dauberville, with the collaboration of Camille Frémontier-Murphy, Renoir: Catalogue raisonné des tableaux, pastels, dessins et aquarelles, vol. 1, 1858-1881 (Bernheim-Jeune, 2007), pp. 299-300, cat. 254 (ill.).

Peter Kropmanns, "Renoir und der Impressionismus," in Auguste Renoir und die Landschaft des Impressionismus, ed. Gerhard Finckh, exh. cat. (Von der Heydt-Museum, 2007), pp. 74-75 (ill.).

Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Impressionists: Master Paintings from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2008), pp. 10 (detail); 24 (ill.); 74-75, cat. 28 (ill.). Simultaneously published as Gloria Groom and Douglas Druick, with the assistance of Dorota Chudzicka and Jill Shaw, The Age of Impressionism at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2008), pp. 10 (detail); 24 (ill.); 74-75, cat. 28 (ill.).

Art Institute of Chicago, The Essential Guide (Art Institute of Chicago, 2009), p. 218 (ill.).

Anne Distel, Renoir (Citadelles & Mazenod, 2009), pp. 194; 195, ill. 181; 239.

Art Institute of Chicago, Master Paintings in the Art Institute of Chicago, selected by James Cuno (Art Institute of Chicago/Yale University Press, 2009), p. 59 (ill.).

Adrien Goetz, Comment Regarder ... Renoir (Hazan, 2009), p. 135 (ill.).

Marie-Christine Decrooq, "Monet und Durand-Ruel: Die Finanzkrise und die 7. Impressionisten-Ausstellung im Licht ihrer Korrespondenz (Januar bis März 1882) aus dem Archiv Cornebois," in Claude Monet, ed. Gerhard Finckh, exh. cat. (von der Heydt-Museum Wuppertal, 2009), p. 59 (ill.).

Sylvie Patry, "Renoir, Revolutionary and Classical," in Sounjou Seo, Renoir: Promise of Happiness, exh. cat. (Seoul Museum of Art, 2009), p. 30, fig. 7.

Caroline Durand-Ruel Godfroy, "Paul Durand-Ruel and Renoir: 47 Years of Friendship," in Sounjou Seo, Renoir: Promise of Happiness, exh. cat. (Seoul Museum of Art, 2009), pp. 158; 161; 166, n. 13; 167, n. 47; 275; 276; 279, n. 13 and n. 47.

Greg M. Thomas, Impressionist Children: Childhood, Family, and Modern Identity in French Art (Yale University Press, 2010), pp. 50; 51, fig. 56.

Caroline Homes, Impressionists in Their Garden (Antique Collectors' Club, 2012), pp. 132-33 (ill.).

Debra N. Mancoff, Fashion in Impressionist Paris (Merrell, 2012), pp. 138-39 (ill.), 149.

Bernhard Echte and Walter Feilchenfeldt, eds., with assistance by Petra Cordioli, Kunstsalon Paul Cassirer: Die Ausstellungen 1905-1908 (Nimbus. Kunst und Bücher, 2013), pp. 208 (ill.), 213, 803.

"Cat. 11: Two Sisters (On the Terrace), 1881" in Renoir Paintings and Drawings at the Art Institute of Chicago, ed. Gloria Groom and Jill Shaw (Art Institute of Chicago, 2014), https://publications.artic.edu/renoir/reader/paintingsanddrawings/section/138973.

Sylvie Patry, ed., Inventing Impressionism: Paul Durand-Ruel and the Modern Market (London: National Gallery Company, 2015), 144-45 fig. 95, 266 cat. 75

Eliza E. Rathbone, ed., Renoir and Friends: Luncheon of the Boating Party, exh. cat. (The Phillips Collection/ D Giles Limited, 2017), p. 113-115, Fig. 47.

Paris, 251, rue Saint-Honoré, Salons du Panorama de Reischoffen, 7me exposition des artistes independants [seventh Impressionist exhibition], Mar. 1-31, 1882, cat. 138, as Les deux soeurs.

Paris, Durand-Ruel, Exposition des oeuvres de P.-A. Renoir, Apr. 1-25, 1883, cat. 30, as Femme sur une terrasse (Chatou).

New York, American Art Galleries, Works in Oil and Pastel by the Impressionists of Paris, Apr. 10-28, 1886, cat. 181; New York, National Academy of Design, May 25-June 30, 1886, as On the Terrace.

Paris, Durand-Ruel, Exposition A. Renoir, May 1892, cat. 92, as La terrasse. Appartient à M. J. D.

Berlin, Expo, 1895.

Saint Petersburg, Internationale de la revue "Le monde artiste à St. Petersbourg," 1899.

Paris, Durand-Ruel, Exposition de tableaux de Monet, Pissarro, Renoir & Sisley, Apr. 1899, cat. 81, as Sur la terrasse. 1881.

Brussels, Libre Esthétique, Exposition des peintres impressionnistes, Feb. 25-Mar. 29, 1904, cat. 130, as Sur la terrasse. Appartient à M. Durand-Ruel.

Paris, Grand Palais des Champs-Élysées, Salon d'automne, Oct. 15-Nov. 15, 1904, cat. 12, as Sur la terrasse.

London, Grafton Galleries, Pictures by Boudin, Cézanne, Degas, Manet, Monet, Morisot, Pissarro, Renoir, Sisley, Exhibited by Messrs. Durand-Ruel & Sons, Jan.-Feb. 1905, cat. 239, as On the Terrace. 1881.

Berlin, Paul Cassirer, Französische Meister, Ferner werke von Max Liebermann, Walter Leistikow, Ulrich Hübner, Constantin Meunier, Mar. 16-mid-June 1906, cat. 30, as Die Terrasse.

London, Palace of Fine Arts, Franco-British Exhibition, May 14-Oct. 31, 1908, cat. 397, as La terrasse. Appartient à M. Durand-Ruel.

Munich, Moderne Galerie Heinrich Thannhauser, Ausstellung Auguste Renoir, mid-Jan.-mid-Feb. 1912, cat. 9, as Sur la terrasse. 1881.

Berlin, Paul Cassirer, VI. Ausstellung, Feb.-Mar. 1912, cat. 9.

Paris, Manzi, Joyant & Cie, Exposition d'art moderne, June 5-July 6, 1912, cat. 180, as Sur la terrasse.

Kunsthaus Zurich, Französische Kunst des XIX. u. XX. Jahrhunderts, Oct. 5-Nov. 14, 1917, cat. 169, as Sur la terrasse. Coll. D.-R.

Paris, Durand-Ruel, Tableaux, pastels-dessins par Renoir (1841-1919), Nov. 29-Dec. 18, 1920, cat. 52.

Art Institute of Chicago, Exhibition of the Mrs. L. L. Coburn Collection: Modern Paintings and Watercolors, Apr. 6-Oct. 9, 1932, cat. 33 (ill.).

Art Institute of Chicago, "A Century of Progress": Loan Exhibition of Paintings and Sculpture, May 23-Nov. 1, 1933, cat. 348.

Art Institute of Chicago, "A Century of Progress" Loan Exhibition of Paintings and Sculpture for 1934, June 1-Oct. 31, 1934, cat. 237.

Toledo (Ohio) Museum of Art, French Impressionists and Post-Impressionists, Nov. 1934, cat. 15.

New York, Durand-Ruel, Views of the Seine by Monet, Pissarro, Renoir, Sisley, Jan. 11-30, 1937, cat. 6 (ill.).

New Haven, Conn., Yale University Gallery of Fine Arts, French Paintings of the Nineteenth Century, Feb. 18-Mar. 4, 1937, cat. 1.

New York, Duveen Galleries, Renoir: Centennial Loan Exhibition, 1841-1941; For the Benefit of the Free French Relief Committee, Nov. 8-Dec. 6, 1941, cat. 35 (ill.).

New York, Wildenstein, Renoir: A Loan Exhibition; For the Benefit of the Citizens' Committee for Children of New York City, Inc., Apr. 8-May 10, 1958, no. 31 (ill.).

Art Institute of Chicago, Paintings by Renoir, Feb. 3-Apr. 1, 1973, cat. 34 (ill.).

Tokyo, Seibu Museum of Art, Shikago bijutsukan insho-ha ten [The Impressionist tradition: Masterpieces from the Art Institute of Chicago], Oct. 18-Dec. 17, 1985, cat. 35 (ill.); Fukuoka Art Museum, Jan. 5-Feb. 2, 1986; Kyoto Municipal Museum of Art, Mar. 4-Apr. 13, 1986.

Washington, D.C., The Phillips Collection, Impressionists on the Seine: A Celebration of Renoir's "Luncheon of the Boating Party," Sept. 21, 1996-Feb. 23, 1997, cat. 58 (ill.).

Ottawa, National Gallery of Canada, Renoir's Portraits: Impressions of an Age, June 27-Sept. 14, 1997, cat. 40 (ill.); Art Institute of Chicago, Oct. 17, 1997-Jan. 4, 1998; Fort Worth, Tex., Kimbell Art Museum, Feb. 8-Apr. 26, 1998.

Saint Petersburg, State Hermitage Museum, Auguste Renoir, "The Two Sisters (On the Terrace)": From the Collection of the Art Institute of Chicago, July 3-Sept. 16, 2001, no cat.

Wuppertal, Germany, Von der Heydt-Museum, Renoir und die Landschaft des Impressionismus, Oct. 28, 2007-Jan. 27, 2008, no cat. no. (ill.).

Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29-Nov. 2, 2008, cat. 28 (ill.).

Paris, Musée Luxembourg, Inventing Impressionism: Paul Durand-Ruel and the Modern Market, October 9, 2014-February 8, 2015, cat. 75; London, National Gallery, March 4-May 31, 2015; Philadelphia Museum of Art, Inventing Impressionism, June 18-September 13, 2015.

The artist (d. 1919); sold to Durand-Ruel, Paris, July 7, 1881, for 1,500 francs [per Durand-Ruel, Paris, stock book for 1880-82 (no. 1451, as Femme sur une terrasse au bord de la Seine), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]; transferred to Durand-Ruel, New York, 1922 [per Durand-Ruel, New York, stock book for 1904-24 (no. 8124, as Sur la terrasse), as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file]; sold to Mrs. Lewis Larned (Annie Swan) Coburn, Chicago, February 4, 1925, for $100,000 [per Durand-Ruel Archives, as confirmed by Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel Archives, to the Art Institute of Chicago, Oct. 5, 2010, curatorial object file; see also a letter on Durand-Ruel letterhead, Mar. 18, 1932, verifying that Coburn purchased the painting from Durand-Ruel, on file in Institutional Archives, Art Institute of Chicago]; Bequeathed to the Art Institute of Chicago, 1933.

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Two Sisters (On the Terrace) | The Art Institute of Chicago

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Show this image Two Sisters (On the Terrace) 1881 Pierre-Auguste RenoirFrench, 1841-1919 "He loves everything that is joyous, brilliant, and consoling in life," an anonymous interviewer once wrote about Pierre-Auguste Renoir. This may explain why Two Sisters (On the Terrace) is one of the most popular paintings in the Art Institute.

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Quote:

“How is it that the clouds still hang on you?”

The line from Hamlet in where Claudius says to Hamlet “How is it that the clouds still hang on you?” essentially means that Claudius is asking Hamlet “how are you still in the dumps” or “how are you still upset”. This line is during Act 1, Scene 2 right after Claudius addresses the court saying that while yes it’s sad that Old Hamlet is dead, we still need to be strong because war is approaching Denmark. It is very apparent that Claudius is not really upset about his brother’s death, however, Young Hamlet loved his father and so of course he will still be extremely upset about him dying. And of course, if Claudius is telling the whole of Denmark to get over the kings death, then he will also be telling the kings son to get over it as well. This line I believe fits very well into the painting The Persistence of Memory by Salvador Dalí. In the painting the background is a sunrise-esque scene where it has brightened colors and the sun is shining on the water and the cliffs in the background. To me, the background is the state of mind where Claudius is, not much grief, sun shining, happier setting. Claudius isn’t weighed down by his brother’s death so he is more so in the sun than in the clouds, where Hamlet is. In my perspective Hamlet is the foreground of the painting, where it is darker, in the clouds, and time has just stopped and deflated. There is also a darker corner in the bottom right of the painting which I think could represent the A sad, dark memory of Hamlet’s father’s death.; black is also worn a symbol as mourning which is the current state of mind Hamlet is in. The weird face thing in the painting as well could represent Hamlet as him lying down in the darkness under the deflated clock just completely smothered with grief and his mourning state of mind. Even if we just looked at the title, that could be enough to link this painting to Hamlet. The Persistence of Memory could be linked to meaning the memory of his father’s death is still hanging around in Hamlet’s mind, it is persistent and constant. Old Hamlet’s death is what the whole play revolves around so even in that way, Shakespeare is keeping the memory of the death alive and persistent in our brains.

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“Who’s Hecuba to him, or me to Hecuba, then he should weep for her. What would he do had he the motive and cue for passion that I have?” -Hamlet (II.ii.511-514)

This quote made me think of Starry Night by Van Gogh. The reason behind this is that each of these things convey great emotion towards something. Like there fighting their own battles secretly. Like not many people know how they are feeling towards their motives. With Van Gogh it was really up to him on how he was feeling because he would change a lot of the time. It’s very similar with Hamlet because no one truly knew his motive during this period except himself .What these two also connect very well with is the use of bipolar disorder between the two. With Van Gogh, sometimes he would be normal and be happy and paint things such as Starry night that showed this feeling or sometimes he would be incredibly angry or upset which caused him to paint with such frustration or sadness. He would paint these  paintings because he needed to show the meaning of himself and truly express what he was going through. Art was only the true way to do that for him. With Hamlet, he is so angry about this actor being brought to tears by this speech because if he did this speech it would be even more emotional and actually have meaning to him. Not like the actor who has no emotion towards this like how Hamlet does. When Hamlet says this speech, he goes from this somewhat calm and collected, to this utter frustration towards him saying that he doesn’t have the same motive or passion for this the way I do.

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“Why look you now how unworthy a thing you make of me. You would play upon me, you would seem to know my stops, you would pluck out the heart of my mystery, you would sound me from my lowest note to the top of my compass- and there is much music, excellent voice, in this little organ, yet cannot you make it speak.” - Hamlet (Act 3 Scene 2)

In this quote, Hamlet is expressing to Guildenstern his frustration with the ways in which Guildenstern and Rosencratz have tried to find out why Hamlet is seemingly going mad, remarking that Guildenstern seems to think he can play Hamlet like an instrument, even though he does not truly understand the inner workings of Hamlet’s mind at all. I connected this quote to Autumn Rhythm (Number 30) by Jackson Pollock. Autumn Rhythm is an abstract expressionism painting, and is meant to be experienced subjectively person to person. At this point in the play, many characters (Polonius, Gertrude) are experiencing Hamlet’s madness subjectively and formulating their own beliefs behind said madness and about Hamlet in general, much like how people experience the Pollock painting, finding their own reasons to answer “why?” As a result of these subjective, deeper interpretations, Autumn Rhythm holds more weight and deeper meanings than what may meet the eye, just as Hamlet’s madness and the play he had performed is much more than meets the eye, secretly encapsulating his plans and motives. Autumn Rhythm can be described as “controlled chaos,” with its seemingly random brush strokes that do in fact have starts, ends, and separate spaces. Hamlet’s whole persona of craziness can also be described as controlled chaos; he is quite literally trying to seem “crazy” and “mad” to purposely create chaos and confusion that he is secretly orchestrating very meticulously.

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Nocturne in Black and Gold – The Falling Rocket is a c. 1875 painting by James McNeill Whistler

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“The play’s the thing

Wherein I’ll catch the conscience of the king.”

Nocturne in Black and Gold by Whistler relates to this quote by Hamlet through him playing the long run in his revenge. I envision Hamlet thinking out his trap for Claudius as a last ditch effort to see if it’s really true that he killed old Hamlet. Nocturne in the black and gold is a mix between such vast contrasting colors and that’s how Hamlet could be fundamentally feeling about all of this.

As his revenge continues his “gold” runs out and its gradually more “black.” However, although hamlet makes more emotion based decisions and some not as smart as others I do find it interesting he didn’t want to just outright kill Claudius immediately especially after seeing old hamlet he actually took time to try and devise a plan.

There is no special meaning behind the paining however the light brushstrokes and almost shadowy figures at the bottoms really tie into the idea of hamlet losing himself within his revenge. It’s nothing too drastic like autumn rhythm by pollock but more slow and steady. The contrast from his personality to his mind is more calm and steady.

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“What a piece of work is a man! How noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god!” In Act 2.2, Claudius orders Rosencratz and Guildenstern to spy on Hamlet to figure out what is the cause of his recent behavior. Once Hamlet arrives at the scene with Rosencratz and Guildenstern, Hamlet catches on to their plan and questions both why they decided to visit freely. Both deny visiting solely because of orders and then Hamlet talks about the King and Queen and says the quote. This made me think of the painting The Vision After the Sermon by Gauguin because this painting involves ideas of religion and human existence, which Hamlet was questioning human mankind. The artist shows how Jacob is fighting the angel and his internal struggles. The warm colors of the painting also represent the anger Jacob feels and this can be tied to the quote because Hamlet is also feeling strong emotions to knowing that the King murdered his father and is now sending people to spy on him. Hamlet talks about what is a man and the admirations and the role to contribute in existence which reminds me of how this painting also had Jacob fighting for his existence. Hamlet and Jacob have some similar struggles in which they feel strong emotions within them and question human existence which is why this quote makes me think of this painting.

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“There’s the respect that makes calamity of so long life, for who would bear the whips and scorns of time, the oppressor’s wrong, the proud man’s contumely, the pangs of disprized love, the law’s delay…. “ - Hamlet (III.i.68-72) This quote taken from Hamlet’s famous monologue displays his belief that the fear of death is what prevents man from suicide. He states many ways that life tries to beat someone down, but brings forth the fact that deaths unknown nature prevents self slaughter when you know you cannot return to life after death. The Broken Column by Frida Kahlo connects to this quote, as Kahlo represents the pains of her tragic life through nails and a broken column portraying her spine. She presents her pains through this symbolism as what life challenges her with, yet she still lives vicariously through the quote “Viva la Vida.” She believes despite the many obstacles of her life, a tragic life is still infinitely better than death. All of her physical and mental pains greatly outweigh the alternative of the unknown, and she celebrates life considering this idea. Compared to how Hamlet is struggling with living through pain because of his fear of death, Frida Kahlo is living as best she can through her own pain because of her acknowledgment of the gift of life and accepting the truth of death’s unknown nature.

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The quote I was given was “Sblood, do you think I am easier to be played on than a pipe? Call me what instrument you will, though you can fret me, you cannot play upon me.”(Hamlet) At this point in the book, Hamlet has discovered that his friends have been spying on from the direction of the King and Queen. This betrayal of trust from his oldest friends led him to express that he will not be manipulated or played with any longer. Hamlet knows he is not crazy, but others don’t see it that way. While many characters have theories about why Hamlet is acting the way he is, the truth is he is still battling with his own emotions and thoughts. I chose to connect this quote to the “Persistence of Memory,” by Dali. Dali was a man of many talents. Just like Hamlet he was accused of being crazy, and just like Hamlet he believed otherwise. People saw Dali’s art as unethical and concerning because it was new and non-traditional. Dali was a surrealist who focused on the subconscious. Much of what Hamlet is going through is also from the subconscious. He is mourning the loss of his father and the marriage of his mother to his uncle. As we see in the book Hamlet struggles with his thoughts and how to express them. This shines through during his soliloquies. Hamlet's soliloquies are much like Dali’s art. His thoughts are free flowing and experimental. A soliloquy is the expression of thoughts before the act, a time where characters fight with their subconscious and conscious thoughts. The product of Dali’s work is very similar to this. The Persistence of Memory, explores the subconscious and the unreasonable. In the painting there are things that simply don’t make sense. Real items (being the conscious) are presented in irrational ways (being the subconscious). Like Hamlet says, he feels as though he is being “played” with. This can be connected to Dali’s way of expressing himself by playing with objects in irrational ways.

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PAINTING: No. 61 (Rust and Blue) by Mark Rothko

QUOTE:

"O God, God

How weary, stale, flat and unprofitable

Seem to me all the uses of this world!

--Hamlet

This is a point in Hamlets life where he is struggling and experiencing many troubles in his life.

He explains his pain by saying, “O God, God, How weary, stale, flat, and unprofitable Seem to me all the uses of this world!” Hamlet in this line thinks about suicide or “self-slaughter” and wishes that God or “the everlasting” had not made it a sin.

This pain is related to the painting in that the depicted emotion in this painting is pain and has a somber/ dark undertone which depicts the pain and suffering that Hamlet is explaining in this line. Paintings from Rothko are meant to communicate emotions and to be meditated with in order to show the universal truths of human kind. This painting and its experience show the subjective experience with the darker undertones which show a deeper, conceptual meaning. These darker, more somber depictions represent Hamlet's thoughts relating to his troubles including his disgust at his mothers marriage to Claudius and his fathers death.

Hamlet's thoughts of suicide also relate to Rothko’s experience. Rothko’s struggles with depression eventually led to alcoholism and drug use. All of this led to Rothko’s suicide. Hamlet's thoughts about suicide are in relation to all of the troubles he is experiencing, just as Rothko also experienced thoughts of suicide.

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“The rest is silence” - Hamlet (V.ii.337) and “The Persistence of Memory” by Salvador Dali

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“The rest is silence” - Hamlet (V.ii.337) and “The Persistence of Memory” by Salvador Dali

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This quote is said by Hamlet as he dies following the death of Claudius. Throughout the story, Hamlet contemplates suicide frequently but is inspired to live to avenge his father. Hamlet decides to play as a madman in order to collect evidence of his fathers murder . As time goes on, Hamlet becomes perceivably more insane as he progresses toward his goal. This relates to Salvador Dali’s “The Persistence of Memory” as Dali explores relativity in the passage of time. Similarly, the reader must make a choice of their own to answer the question of whether or not Hamlet has actually gone mad or is simply playing the part. Hamlet shows relation to the artist Salvador Dali as Dali himself was publicly regarded as a madman despite denying claims of such. Both of these works reflect ideas similar to that of the “Iceberg theory”. The iceberg theory is a concept in writing where the writer omits certain details in order to put the story more so in the hands of the reader. Dali’s work is open to interpretation and includes abstract depictions that the viewer must discern value from. Hamlets rumination on the concept of death and the hereafter is a key element to his character development and shares the same ideas regarding the human lack of understanding in concepts such as time and the afterlife.