American Impressionism 2014-15

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Studies of an Autumn Day

John Leslie Breck

Date: 1891

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1989.4.12

Text Entries: John Leslie Breck's early work was often large in scale and dark in color. He dramatically altered his artistic approach, however, after his sojourn to France in the mid-1880s. Executed over a period of three days in the Normandy village of Giverny, Breck's small studies are an analysis of atmospheric changes from dawn to dusk. They were first shown in Boston in 1893 unframed and side-by-side in an exhibition along with the much larger "Morning Fog and Sun." Most likely begun in the outdoors but finished in the studio, these paintings were left unvarnished by the artist, enhancing the freshness and immediacy of Breck's subject matter: the natural cycle of time, movement, and change.

Morning Fog and Sun

John Leslie Breck

Date: 1892

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1999.19

Text Entries: Memorial Exhibition of Paintings by John Leslie Breck. (exh. cat., St. Botolph Club). Boston, Massachusetts: St. Botolph Club, 1899. Text (checklist), cat. no. 1 (as Haystacks at Giverny). Sotheby's, New York, New York (Sale 6109, November 29, 1990): lot 56. Text and ill. lot 56 (color). Gerdts, William H. et al. Lasting Impressions: American Painters in France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Pl. 19, p. 161 (color). Gerdts, William H. et al. Impressions de toujours: les peintres américains en France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Pl. 19, p. 161 (color). Cartwright, Derrick R. The City and the Country: American Perspectives, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text pp. 18, 23 (checklist); ill. p. 18 (black & white). Cartwright, Derrick R. Ville et campagne: les artistes américains, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text pp. 18, 23 (checklist); ill. p. 18 (black & white). Joyes, Claire. The Taste of Giverny: At Home with Monet and the American Impressionists. Paris, France: Flammarion, 2000. Ill. pp. 26–27 (color). Bourguignon, Katherine M. and Elizabeth Kennedy. An American Point of View: The Daniel J. Terra Collection. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text pp. 124, 191–92; ill. pp. 12 (color), 125 (color), 191 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. Un regard transatlantique. La collection d'art américain de Daniel J. Terra. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text pp. 124, 191–92; ill. pp. 12 (color), 125 (color), 191 (black & white). Griffith, Bronwyn A. E. Passing Through Paris: Americans in France, 1860–1930. (exh. brochure, Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2005. Text n.p.; fig. 7, n.p. (color). Griffith, Bronwyn A. E. Le Passage à Paris: les artistes américains en France, 1860–1930. (exh. brochure, Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2005. Text n.p.; fig. 7, n.p. (color). Bourguignon, Katherine M. et al. Impressionist Giverny: A Colony of Artists, 1885–1915. (exh. cat. Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2007. Text pp. 23, 36, 204 (checklist); ill. p. 100 (color detail), 110 (color). Mauvoisin, Jacques and Gwenaëlle Ledot. Écrivins de Normandie. Saint-Lô, France: Normandie Magazine, 2007. Ill. p. 103 (color). Bourguignon, Katherine M., Shunsuke Kijima and Sanjiro Minamikawa. Monet and the Artists of Giverny: The Beginning of American Impressionism. (exh. cat. Kitakyushu Municipal Museum of Art, The Bunkamura Museum of Art, Tokyo, and The Okayama Prefectural Museum of Art). Fukuoka, Japan: The Nishinippon Shimbun, 2010. Text cat. no. 48, pp. 96 (in Japanese), 185 (in English); ill. p. 96 (color). Bourguignon, Katherine M. American Impressionism: A New Vision 1880-1900. (exh. cat., Musée des Impressionnismes Giverny, National Galleries of Scotland, Museo Thyssen-Bornemisza). Giverny, France: Musée des Impressionnismes Giverny, 2014. Text p. 32; ill. p. 83 (color). Bourguignon, Katherine M. L’impressionnisme et les Américains. (exh. cat., Musée des Impressionnismes Giverny, National Galleries of Scotland, Museo Thyssen-Bornemisza). Giverny, France: Musée des Impressionnismes Giverny, 2014. Text p. 32; ill. p. 83 (color). Bourguignon, Katherine M. Impresionismo Americano. (exh. cat., Musée des Impressionnismes Giverny, National Galleries of Scotland, Museo Thyssen-Bornemisza). Giverny, France: Musée des Impressionnismes Giverny, 2014. Text p. 32; ill. p. 83 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text pp. 114-116; fig. 1, p. 113 (color). Burdan, Amanda C. America’s Impressionism: Echoes of a Revolution. (exh. cat., Brandywine River Museum of Art). Chadds Ford, PA: Brandywine River Museum of Art; Memphis, TN: Dixon Gallery and Gardens; San Antonio, TX: San Antonio Museum of Art; distributed by Yale University Press, 2020. Text p. 36; ill. p. 37 (color). Bourguignon, Katherine and Valerie Reis. The Studio of Nature, 1860-1910: The Terra Collection in Context. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020. Text p. 37; Pl. 78, p. 142 (color).

Jenny and Her Sleepy Child

Mary Cassatt

Date: c. 1891–92

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1988.24

Text Entries: Illustrated London News 223 (June 11, 1953): 73. Text p. 73. Mary Cassatt, 1844–1926. (exh. cat., Marlborough Fine Art, Ltd.). London, England: Marlborough Fine Art, Ltd., 1953. Ill. p. 11 (as Mere et Enfant). Breeskin, Adelyn Dohme. Mary Cassatt, Catalogue Raisonné: Oils, Pastels, Watercolors, and Drawings. Washington, D.C.: Smithsonian Institution Press, 1970. Ill. no. 188, p. 98 (black & white). The Art of Mary Cassatt (1844–1926). (exh. cat., American Federation of the Arts). New York: American Federation of the Arts, 1981. No. 24, p. 100; ill. p. 42. American Paintings IV 1986. New York: Berry-Hill Galleries, Inc., 1986. Text p. 106; ill. frontispiece (color). Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-59, p. 168 (color). Gerdts, William H. et al. Lasting Impressions: American Painters in France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text p. 248; pl. 71, p. 249 (color). Gerdts, William H. et al. Impressions de toujours: les peintres américains en France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text p. 248; pl. 71, p. 249 (color). Costantino, Maria. Mary Cassatt. New York: Barnes & Noble Books, 1995. Ill. p. 71 (color). Reymond, Nathalie. Un regard américain sur Paris (An American Glance at Paris). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 28; ill. p. 29 (color). Lévy, Sophie, et al. Twarze Ameryki: Portrety z kolekcji Terra Foundation for American Art, 1770–1940/Faces of America: Portraits from the collection of the Terra Foundation for American Art, 1770–1940. (exh. cat. International Cultural Center). Cracow, Poland: International Cultural Center, 2006. Text p. 90; ill. p. 91 (color). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., National Museum of China, Beijing; Shanghai Museum). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Chinese and English version; citing English version). Ill. p. 171 (color). Art In America: 300 years of Innovation. Hong Kong: Wen Wei Publishing Co. Ltd, 2007. Text pp. 73–74 (in Chinese). Davidson, Susan, ed. Art in America: 300 Years of Innovation. (exh. cat., The Pushkin Museum of Fine Arts, Moscow, Russia). New York, NY: Solomon R. Guggenheim Foundation; Chicago, IL: Terra Foundation for American Art, 2007. (Russian version). Ill. p. 89 (color). Pfeiffer, Ingrid and Max Hollein, eds. Women Impressionists. (Exh. cat., Schirn Kunsthalle, Frankfurt, Germany) Ostfildern, Germany: Hatje Cantz Verlag, 2008. Text pp. 167, 310 (checklist); ill. pp. 166 (color detail), p. 175 (color). Southgate, M. Therese. The Art of JAMA III: Covers and Essays from the Journal of the American Medical Association. Chicago, Illinois: American Medical Association, 2011. Text pp. 36, 203; ill. opposite p. 36 (color). Bourguignon, Katherine M. American Impressionism: A New Vision 1880–1900. (exh. cat., Musée des Impressionnismes Giverny, National Galleries of Scotland, Museo Thyssen-Bornemisza). Giverny, France: Musée des Impressionnismes Giverny, 2014. (English, French and Spanish versions). Text p. 27; ill. p. 59 (color). Ikeda, Yuko; Pamela A. Ivinski; Maruko Kanai; Chinatsu Makiguchi; Nancy Mowll Mathews; Hideko Numata; Susan Pinsky; Marc Rosen; and Junko Uchiyama. Mary Cassatt Retrospective. (exh. cat. Yokohama Museum of Art; National Museum of Modern Art, Kyoto). Yokohama, Japan: Yokohama Museum of Art, 2016. Text p. 211, cat no. 83 (checklist). Ill. 115 (color). Louisiana Museum of Modern Art. MOTHER! (exh. cat., Louisiana Museum of Modern Art in collaboration with Kunsthalle Mannheim). Denmark: Louisiana Museum of Modern Art, 2021. Ill. p. 93 (color).

Summertime

Mary Cassatt

Date: 1894

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1988.25

Text Entries: Mary Cassatt began her art training in Philadelphia at the age of sixteen, impatient with the academic emphasis on draftsmanship and eager to begin figure painting in oil. It was only after establishing herself in France as a portrait and genre painter, and exhibiting at Edgar Degas' invitation with the Impressionists, that Cassatt was inspired to develop an innovative, graphic and spare drawing style influenced by Japanese ukiyo-e prints pulled from wood blocks. Her famous series of ten color prints of 1890-1891, which included The Lamp, depict the enclosed and implicitly complete world of the upper class Parisian woman. Cassatt combined drypoint with aquatint techniques, used diluted printer's ink rather than paint, and employed the help of a professional printer; she explained that rather than duplicating Japanese printmaking methods, she had attempted to infuse a Japanese "atmosphere" into these works. Between 1892 and 1897, she designed nine more prints. Under the Horse Chestnut Tree typifies Cassatt's fascination with tender but unsentimental images of mothers and children; though she never married, she once declared that "There's only one thing in life for a woman; it's to be a mother." Cassatt probably executed Summertime at her country home of Mesnil-Beaufresne, where she lived year-round after her mother's death in 1895. The composition of the painting, including facing female figures in a rowboat cut off at right and an absent upper horizon line, reappears in one of her prints; though her range of subjects was comparatively small, Cassatt often explored a single composition in multiple media. Her use of bright, pure color, expressive brushwork and an extreme vantage point (in this case, from above) to depict a scene of modern recreation reveal Cassatt's thorough understanding of the Impressionists' experiment.

Morning at Breakwater, Shinnecock

William Merritt Chase

Date: c. 1897

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1999.30

Text Entries: William Merritt Chase, an Indiana native, fascinated the New York art world with his sumptuously decorated studio and his sophisticated personal demeanor. Art studies in New York and Munich and extensive European travel developed his highly refined aesthetic attitude. President of the Society of American Artists for a decade and a popular teacher for thirty-seven years, Chase was one of the most influential artists in America. From 1891 to 1903, he pioneered one of the first and most important of the outdoor art programs, the Shinnecock Summer Art School on Long Island, New York. Chase, whose early reputation was associated with impressionism, was unanimously elected by The Ten to replace John Twachtman after his death in 1902. In Morning at Breakwater, Shinnecock Chase imaginatively contrasts the stark and rugged rocks, the man-made breakwater on Shinnecock and Peconic Bays, with the harmonious play of mothers and children on the sand united under a brilliant sunny sky. Employing divergent artistic styles in the painting as well, the artist's precise delineation of acute diagonal lines, which establish a classic perspective, is veiled by his lightly colored palette and his fluid brushwork implying an impressionistic style. Yet, the picture's calculated composition rebukes the effect of a summer morning scene spontaneously captured while painting outdoors.

Commonwealth Avenue, Boston

Childe Hassam

Date: c. 1892

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.39

Text Entries: Hassam's interpretation of the promenade-strolling or riding in a carriage by the fashionable class-was particularized by the inclusion of a city's distinctive architectural monuments. His portrait of Boston's Commonwealth Avenue is readily identified by the bell tower of the Brattle Square Church (now the First Baptist Church of Boston) designed by H. H. Richardson in 1882, and the spire of Richard Upjohn's Church of the Covenant (built by Central Church Congregational) in 1865-67. The deeply receding space, created by the strong diagonal perspective of the thoroughfare, suggests the cityscape's magnitude. Still, a utopian urban vision is created by the painting's golden atmospheric veil, the result of the artist's blond palette. Returning to his chosen subject of cityscapes upon leaving Paris in 1889, Hassam developed a tendency to depict the urban landscape through a fragmented composition, palpable atmospheric elements, and loose brushwork resulting in a distinctive immediacy.

Une Averse—rue Bonaparte

Childe Hassam

Date: 1887

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1993.20

Text Entries: During his first year in Paris, Hassam devoted himself to life drawing studies at the Académie Julian and created this large painting to attract notice at the juried annual salon. In this Latin Quarter street scene near Luxembourg Garden, Hassam's composition employs a dramatic orthogonal perspective, sweeping view, palpable misty atmosphere and precisely rendered figures in the foreground, all united in a blond tonality. Ignoring the picturesque sites and concentrating on the figures of Parisian laborers, Hassam's work lies somewhere between a critique of the complex realties of city life and a presentation of an urban utopia where all classes harmoniously occupy the same public spaces. To Hassam's delight, his adaptation of a rain-slick city street, based on his earlier cityscapes of Boston, was accepted at the Salon-no small feat for a new arrival to the Paris art scene. As he established his career in the United States after 1889, Hassam repeatedly exhibited this early work at public venues, including the prestigious 1893 World's Columbian Exposition in Chicago.

Horticulture Building, World's Columbian Exposition, Chicago

Childe Hassam

Date: 1893

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1999.67

Text Entries: Hassam's inclusion in the nation's largest juried art exhibit held at the 1893 World's Columbian Exposition, which marked the 400th anniversary of Christopher Columbus' arrival in the Americas, was a sign of his established artistic reputation. He was awarded a bronze medal for six major paintings, including Cab Station, Rue Bonaparte, and a group of watercolors shown in the Fine Arts Palace. Executed in the summer of 1893, this canvas depicts the majestic dome of the Crystal Palace. The building dominated the skyline of the park-like Wooded Island, but it was a minor architectural statement in the vast panoply of French Beaux-Arts buildings that comprised the famous "White City." Hassam's free brushwork and high-key color convey a sense of immediacy and a spontaneous response to the excitement of the Fair awash in brilliant sunshine.

From the Hill, Giverny

Theodore Robinson

Date: c. 1889–92

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1987.6

Text Entries: John Leslie Breck, Theodore Robinson, and Guy Rose were inspired by the undulating landscape surrounding Giverny. Using the hillside as motif, these American artists investigated the changing light and color of the four seasons. Simultaneously with Monet, Robinson experimented with atmospheric conditions, seasonal changes, and different times of day through sequential painting, choosing panoramic views of the Seine River Valley. Soft, fragmented color and hazy atmospheric effects are contrasted against strong diagonals and high horizon lines in his summer landscape From the Hill as well as in Winter Landscape done the same year. Breck dissolves landscape forms in an autumnal light in Giverny Hillside where the built-up paint on the surface adds a physical dimension that contributes to the painting's luminous effect. Painter Guy Rose praised the inspiring Giverny views, "High walls surround picturesque gardens; and long hillsides, checkered with patches of different vegetable growth, slope down to low flat meadows..." In Rose's Giverny Hillside, the qualities of springtime's gentle light, broken brushwork and a simplified color palette reveal the artist's increased involvement with impressionism. Indeed, the sloping hillside garden behind his house may well have been the inspiration for this colorful canvas.

Etude pour "Vallée de la Seine vue des hauteurs de Giverny"

Theodore Robinson

Date: 1892

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.9

Text Entries: Robinson, who had studied in Paris in the 1870s and then had worked predominantly in the Barbizon area, established a lasting friendship with Claude Monet in Giverny. For most of the time between 1888 and 1892, Robinson lived in Giverny and produced a prolific body of impressionist landscapes. He painted the village and its surroundings from different vantage points, including views from the hillside, as in this painting, a study for "Valley of the Seine from Giverny Heights" (in The Corcoran Gallery, Washington, D.C.).

Blossoms at Giverny

Theodore Robinson

Date: 1891–92

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.130

Text Entries: Sokol, David. Two Hundred Years of American Painting from Private Chicago Collections. (exh. cat., Terra Museum of American Art). Evanston, Illinois: Terra Museum of American Art, 1983. Text p. 34; ill. frontispiece, p. 1 (color). Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-77, p. 186 (color). Shelby, Carole. American Painters in France, 1830–1930. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1989. Text cat. no. 32 (checklist). Southgate, Therese. "The Cover." The Journal of the American Medical Association 265, no. 17 (May 1991): cover, 2159. Text p. 2159; ill. cover (color). Gerdts, William H. et al. Lasting Impressions: American Painters in France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 53, 133, 134, 183; ill. p. 136, pl. 4 (color). Gerdts, William H. et al. Impressions de toujours: les peintres américains en France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 52–53, 133–134, 182–183; ill. p. 136, pl. 4 (color). Gomes, Rosalie. Impressions of Giverny: A Painter's Paradise 1883–1914. San Francisco, California: Pomegranate Artbooks, 1995. Text pp. 55, 114; ill. p. 59, pl. 38 (color). Regard sur cinq années d'expositions (Five years of Exhibitions at a Glance). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 53 (checklist). Cartwright, Derrick R. The City and the Country: American Perspectives, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 26 (checklist); ill. p. 48 (color). Cartwright, Derrick R. Ville et campagne: les artistes américains, 1870–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1999. Text p. 26 (checklist); ill. p. 48 (color). Joyes, Claire. The Taste of Giverny: At Home with Monet and the American Impressionists. Paris, France: Flammarion, 2000 Ill. p. 117 (color). Mayer, Stephanie. First Exposure: The Sketchbooks and Photographs of Theodore Robinson. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Ill. p. 49 (color). Mayer, Stephanie. Theodore Robinson. Esquisses et photographies. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Ill. p. 49 (color). Mayer, Stephanie. Blossoms at Giverny, Theodore Robinson. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, January 2001. Ill. (color). Johnston, Sona. In Monet's Light: Theodore Robinson at Giverny. (exh. cat., The Baltimore Museum of Art). Baltimore, Maryland: The Baltimore Museum of Art, 2004. Text p. 164; ill. p. 164, cat. no. 49 (color). Bourguignon, Katherine M. et al. Impressionist Giverny: A Colony of Artists, 1885–1915. (exh. cat. Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2007. Text pp. 103, 210 (checklist); ill. p. 124 (color). Bourguignon, Katherine M. et al. Giverny impressionniste: une Colonie d’artistes, 1885–1915. (exh. cat. Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for American Art, 2007. Text pp. 103, 211 (checklist); ill. cat. p. 124 (color). Mauvoisin, Jacques and Gwenaëlle Ledot. Écrivins de Normandie. Saint-Lô, France: Normandie Magazine, 2007. Ill. p. 102 (color). Bourguignon, Katherine M. "Impressionist Giverny: American Painters in France." American Art Review 20, no. 3 (June 2008): 100–113. Ill. p. 111 (color). Bourguignon, Katherine M., Shunsuke Kijima and Sanjiro Minamikawa. Monet and the Artists of Giverny: The Beginning of American Impressionism. (exh. cat. Kitakyushu Municipal Museum of Art, The Bunkamura Museum of Art, Tokyo, and The Okayama Prefectural Museum of Art). Fukuoka, Japan: The Nishinippon Shimbun, 2010. Text cat. no. 58, pp. 111 (in Japanese), 186 (in English); ill. p. 110 (color). Southgate, M. Therese. The Art of JAMA III: Covers and Essays from the Journal of the American Medical Association. Chicago, Illinois: American Medical Association, 2011. Text pp. 34, 202; ill. opposite p. 34 (color). Bourguignon, Katherine M. American Impressionism: A New Vision 1880–1900. (exh. cat., Musée des Impressionnismes Giverny, National Galleries of Scotland, Museo Thyssen-Bornemisza). Giverny, France: Musée des Impressionnismes Giverny, 2014. Text pp. 32, 40; ill. p. 51 (color), p. 80 (color). Bourguignon, Katherine M. L’impressionisme et les américains, 1880–1900. (exh. cat., Musée des Impressionnismes Giverny, National Galleries of Scotland, Museo Thyssen-Bornemisza). Giverny, France: Musée des Impressionnismes Giverny, 2014. Text pp. 32, 40; ill. p. 80 (color). Bourguignon, Katherine M. Impresionismo Americano. (exh. cat., Musée des Impressionnismes Giverny, National Galleries of Scotland, Museo Thyssen-Bornemisza). Madrid: Museo Thyssen Bornemisza, 2014. Text pp. 32, 40; ill. p. 80 (color). Bourguignon, Katherine M., and Peter John Brownlee, eds. Conversations with the Collection: A Terra Foundation Collection Handbook. Chicago: Terra Foundation for American Art, 2018. Text pp. 150, 151; ill. p. 151, detail pp. 152–153 (color). Bourguignon, Katherine and Valerie Reis. The Studio of Nature, 1860-1910: The Terra Collection in Context. (exh. cat, Terra Foundation for American Art with the Musée des Impressionnismes Giverny). Paris, France: Réunion des musées nationaux, 2020. Pl. 63, p. 137 (color).

Canal Scene

Theodore Robinson

Date: 1893

Credit Line: Terra Foundation for American Art, Daniel J. Terra Collection

Object number: 1992.131

Text Entries: Taft, Dorado. "American Pictures in Paris." Chicago Record 12 (July 1900): 113. Text p. 113. Baur, John I. H. Theodore Robinson 1853–1896. (exh. cat., The Brooklyn Museum). Brooklyn, New York: The Brooklyn Museum, Brooklyn Institute of Arts and Sciences, 1946. Cat. no. 35, p. 59 (as Canal Scene, Autumn). Johnston, Sona. Theodore Robinson 1852–1896. (exh. cat., Baltimore Museum of Art). Baltimore, Maryland: Baltimore Museum of Art, 1973. Text no. 52, pp. 52–53; ill. no. 52, p. 52 (black & white). The Magazine Antiques 107 (January 1975): 29. Ill. p. 29 (color). Gerdts, William H. American Impressionism. (exh. cat., Henry Art Gallery). Seattle, Washington: Henry Art Gallery, University of Washington, 1980. Text p. 138 (checklist); ill. p. 52 (color). Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-80, p. 189 (color). Gerdts, William H. et al. Lasting Impressions: American Painters in France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 54–55; fig. 48, p. 55 (black & white). Gerdts, William H. et al. Impressions de toujours: les peintres américains en France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 54–55; fig. 48, p. 55 (black & white). Bourguignon, Katherine M. American Impressionism: A New Vision 1880-1900. (exh. cat., Musée des Impressionnismes Giverny, National Galleries of Scotland, Museo Thyssen-Bornemisza). Giverny, France: Musée des Impressionnismes Giverny, 2014. (English, French and Spanish versions). Ill. p. 101 (color).