Skip to main contentProvenanceThe artist
Hirschl & Adler Galleries, Inc., New York, New York
Private collection, New York
Berry-Hill Galleries, Inc., New York, New York
Daniel J. Terra Collection, Chicago, Illinois, 1990
Terra Foundation for the Arts Collection, Chicago, Illinois, 1992
Exhibition HistoryPublished References
Richard Emil (or Edward) Miller
(American, 1875–1943)
The White Shawl
after 1910
Oil on canvas
Image: 79 x 45 3/8 in. (200.7 x 115.3 cm)
Frame: 90 x 56 1/4 in. (228.6 x 142.9 cm)
Frame: 90 x 56 1/4 in. (228.6 x 142.9 cm)
Credit LineTerra Foundation for American Art, Daniel J. Terra Collection
Object number1992.50
SignedLeft center: Miller
InterpretationSeen from the back, a woman dressed in an elegant white satin gown models a diaphanous white shawl draped over her shoulders as she contemplates her image in a large oval mirror. Her face is visible only in reflection, forcing the viewer to share her private vision of herself. Her glance neither acknowledges the viewer nor scrutinizes the effect of the shawl; instead, she meets her own gaze in an act of self-revelation, for which the mirror has often served as an artistic as well as literary metaphor. Another work on this theme, Dennis Miller Bunker’s The Mirror (TF 1999.22), also features a contemplative woman in a white dress.
Miller included mirrors in many of the images of solitary women in interiors that formed the mainstay of his career; even his garden scene entitled The Pool (TF 1988.13) is dominated by a reflective watery surface “framed” by a circular edge. In The White Shawl, the use of the mirror to emphasize the woman’s preoccupation with her material finery and its enhancement of her own beauty evokes the time-honored tradition of the so-called vanitas, a type of image intended to emphasize the ultimate fruitlessness of worldly pleasures and ambitions. The fine objects arrayed on the dresser before the woman, which include lovely but short-lived cut flowers and a just-extinguished candle from which a wraith of white smoke escapes, underscore Miller’s sober moral message.
Miller painted The White Shawl in his studio within a few years of his arrival in Paris to study art. He was one of several young American figural artists in Paris at the turn of the twentieth century who, inspired by the decorative compositions of female figures by influential American artist James McNeill Whistler, created their own interpretations of his subjects. They were also directly influenced by the Japanese ukiyo-e woodblock prints that were an important source for Whistler himself. The narrow vertical format of Miller’s painting, in which the figure fills the space, the cascading flow of her dress, and the slight twist of her posture all evoke popular Japanese print images of fashionable women. Distinctly Miller’s own, however, is the moralizing note, which may also inform his Café de nuit (TF 1999.97).
During his first years in Paris, Miller made a name for himself with such ambitious compositions featuring glamorous women. These critically successful works featured a recognizably modern style of loose paint application, but they also hewed to conventional principles of careful draftsmanship and pictorial depth. Miller carried this winning combination into his better-known paintings of women made in the rural art colony of Giverny, works in which he eschewed the dark interior tones and almost monochromatic colors seen in The White Shawl for the brilliant hues of decorative impressionism.
Miller included mirrors in many of the images of solitary women in interiors that formed the mainstay of his career; even his garden scene entitled The Pool (TF 1988.13) is dominated by a reflective watery surface “framed” by a circular edge. In The White Shawl, the use of the mirror to emphasize the woman’s preoccupation with her material finery and its enhancement of her own beauty evokes the time-honored tradition of the so-called vanitas, a type of image intended to emphasize the ultimate fruitlessness of worldly pleasures and ambitions. The fine objects arrayed on the dresser before the woman, which include lovely but short-lived cut flowers and a just-extinguished candle from which a wraith of white smoke escapes, underscore Miller’s sober moral message.
Miller painted The White Shawl in his studio within a few years of his arrival in Paris to study art. He was one of several young American figural artists in Paris at the turn of the twentieth century who, inspired by the decorative compositions of female figures by influential American artist James McNeill Whistler, created their own interpretations of his subjects. They were also directly influenced by the Japanese ukiyo-e woodblock prints that were an important source for Whistler himself. The narrow vertical format of Miller’s painting, in which the figure fills the space, the cascading flow of her dress, and the slight twist of her posture all evoke popular Japanese print images of fashionable women. Distinctly Miller’s own, however, is the moralizing note, which may also inform his Café de nuit (TF 1999.97).
During his first years in Paris, Miller made a name for himself with such ambitious compositions featuring glamorous women. These critically successful works featured a recognizably modern style of loose paint application, but they also hewed to conventional principles of careful draftsmanship and pictorial depth. Miller carried this winning combination into his better-known paintings of women made in the rural art colony of Giverny, works in which he eschewed the dark interior tones and almost monochromatic colors seen in The White Shawl for the brilliant hues of decorative impressionism.
Hirschl & Adler Galleries, Inc., New York, New York
Private collection, New York
Berry-Hill Galleries, Inc., New York, New York
Daniel J. Terra Collection, Chicago, Illinois, 1990
Terra Foundation for the Arts Collection, Chicago, Illinois, 1992
Exhibition History
Collection Cameo, Terra Museum of American Art, Chicago, Illinois, July 1996.
Un regard américain sur Paris (An American Glance at Paris), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 11–October 31, 1997.
Figures and Forms: Selections from the Terra Foundation for the Arts, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, May 9–July 9, 2000.
(Re)Presenting Women, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, October 16, 2001–January 13, 2002.
Visages de l'Amérique: de George Washington à Marilyn Monroe (Faces of America: From George Washington to Marilyn Monroe), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–October 31, 2004. [exh. cat.]
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), Musée d'Art Américain Giverny, France and Miedzynarodowe Centrum Kultury (International Cultural Center), Crakow, Poland (organizers). Venue: International Cultural Center, Crakow, Poland, February 15–May 7, 2006. [exh. cat.]
Art in America: 300 Years of Innovation, Solomon R. Guggenheim Foundation, New York, NY and Terra Foundation for American Art, Chicago, IL (organizers). Venues: National Art Museum of China, Beijing, China, February 9–April 5, 2007; Shanghai Museum, Shanghai, China, April 30–June 30, 2007; Shanghai Museum of Contemporary Art, Shanghai, China, April 30–June 30, 2007 (Shanghai presentations ran concurrently); The Pushkin Museum of Fine Arts, Moscow, Russia, July 23–September 9, 2007; Guggenheim Bilbao, Bilbao, Spain, October 15, 2007–April 27, 2008. (exhibited in Beijing and Shanghai; exhibited in Moscow). [exh. cat.]
Portrait of a Lady : peintures et photographies américaines en France, 1870–1915 (Portrait of a Lady: American Paintings and Photographs in France, 1870–1915), Musée d'Art Américain Giverny, Giverny, France and Musée des Beaux-Arts de Bordeaux, Bordeaux, France (organizers). Venues: Musée d'Art Américain Giverny, Giverny, France, April 1–July 14, 2008; Musée des Beaux-Arts de Bordeaux, Bordeaux, France, September 25, 2008–January 5, 2009. [exh. cat.]
Un regard américain sur Paris (An American Glance at Paris), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 11–October 31, 1997.
Figures and Forms: Selections from the Terra Foundation for the Arts, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, May 9–July 9, 2000.
(Re)Presenting Women, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, October 16, 2001–January 13, 2002.
Visages de l'Amérique: de George Washington à Marilyn Monroe (Faces of America: From George Washington to Marilyn Monroe), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–October 31, 2004. [exh. cat.]
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), Musée d'Art Américain Giverny, France and Miedzynarodowe Centrum Kultury (International Cultural Center), Crakow, Poland (organizers). Venue: International Cultural Center, Crakow, Poland, February 15–May 7, 2006. [exh. cat.]
Art in America: 300 Years of Innovation, Solomon R. Guggenheim Foundation, New York, NY and Terra Foundation for American Art, Chicago, IL (organizers). Venues: National Art Museum of China, Beijing, China, February 9–April 5, 2007; Shanghai Museum, Shanghai, China, April 30–June 30, 2007; Shanghai Museum of Contemporary Art, Shanghai, China, April 30–June 30, 2007 (Shanghai presentations ran concurrently); The Pushkin Museum of Fine Arts, Moscow, Russia, July 23–September 9, 2007; Guggenheim Bilbao, Bilbao, Spain, October 15, 2007–April 27, 2008. (exhibited in Beijing and Shanghai; exhibited in Moscow). [exh. cat.]
Portrait of a Lady : peintures et photographies américaines en France, 1870–1915 (Portrait of a Lady: American Paintings and Photographs in France, 1870–1915), Musée d'Art Américain Giverny, Giverny, France and Musée des Beaux-Arts de Bordeaux, Bordeaux, France (organizers). Venues: Musée d'Art Américain Giverny, Giverny, France, April 1–July 14, 2008; Musée des Beaux-Arts de Bordeaux, Bordeaux, France, September 25, 2008–January 5, 2009. [exh. cat.]
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. 87–88; fig. 83, p. 87 (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. 87–88; fig. 83, p. 87 (black & white).
The White Shawl, Richard Emil Miller. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, July 1996. Ill. (black & white).
Reymond, Nathalie. Un regard américain sur Paris (An American Glance at Paris). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text pp. 59–60; ill. p. 58 (color).
Kane, Marie Louise. A Bright Oasis: The Paintings of Richard E. Miller. (exh. cat., Jordan-Volpe Gallery, Inc.). New York: Jordan-Volpe Gallery, Inc., 1997. Text pp. 18, 129; pl. 6, p. 89 (color).
May, Stephen. "Up Now [Richard E. Miller]." Art News 97:6 (June 1997): 125. Text p. 125.
Kennedy, Elizabeth and Sophie Lévy. Faces of America: Portraits of the Terra Foundation for the Arts Collection, 1770–1940. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2004. Text pp. 14, 33 (checklist); fig. 3, p. 15 (color).
Kennedy, Elizabeth and Sophie Lévy. Visages de l'Amérique: le portrait dans la collection de la Terra Foundation for the Arts, 1770–1940. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2004. Text pp. 14, 33 (checklist); fig. 3, p. 15 (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. Ill., p. 80 (color).
Art In America: 300 years of Innovation. Hong Kong: Wen Wei Publishing Co. Ltd, 2007. (in Chinese), Ill. p. 83 (color).
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. 91 (color).
Vanessa Lecomte, editor. Portrait of a Lady : peinture et photographies américains (exh. cat., Musée d'Art Américain Giverny and Musée des beaux-arts de Bordeaux). Chicago, Illinois: Terra Foundation for American Art, 2008. Text p. 94; ill. p. 52 (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. 87–88; fig. 83, p. 87 (black & white).
The White Shawl, Richard Emil Miller. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, July 1996. Ill. (black & white).
Reymond, Nathalie. Un regard américain sur Paris (An American Glance at Paris). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text pp. 59–60; ill. p. 58 (color).
Kane, Marie Louise. A Bright Oasis: The Paintings of Richard E. Miller. (exh. cat., Jordan-Volpe Gallery, Inc.). New York: Jordan-Volpe Gallery, Inc., 1997. Text pp. 18, 129; pl. 6, p. 89 (color).
May, Stephen. "Up Now [Richard E. Miller]." Art News 97:6 (June 1997): 125. Text p. 125.
Kennedy, Elizabeth and Sophie Lévy. Faces of America: Portraits of the Terra Foundation for the Arts Collection, 1770–1940. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2004. Text pp. 14, 33 (checklist); fig. 3, p. 15 (color).
Kennedy, Elizabeth and Sophie Lévy. Visages de l'Amérique: le portrait dans la collection de la Terra Foundation for the Arts, 1770–1940. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2004. Text pp. 14, 33 (checklist); fig. 3, p. 15 (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. Ill., p. 80 (color).
Art In America: 300 years of Innovation. Hong Kong: Wen Wei Publishing Co. Ltd, 2007. (in Chinese), Ill. p. 83 (color).
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. 91 (color).
Vanessa Lecomte, editor. Portrait of a Lady : peinture et photographies américains (exh. cat., Musée d'Art Américain Giverny and Musée des beaux-arts de Bordeaux). Chicago, Illinois: Terra Foundation for American Art, 2008. Text p. 94; ill. p. 52 (color).