Maurice Brazil Prendergast

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Franklin Park, Boston

Maurice Brazil Prendergast

Date: c. 1895

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

Object number: 1999.112

Text Entries: Kirshner, Judith Russi. "The Terra Collection." United: The Magazine of the Friendly Skies (December 1982): 52–59. Ill. p. 57 (color). "Art Club Exhibition Opened." Boston Evening Transcript (January 22, 1898): 4. Text p. 4 Sawyer, Charles H. "The Prendergasts." Parnassus 10:5 (October 1938): 9-11. Ill. p. 11. Brooks, Van Wyck. "Anecdotes of Maurice Prendergast." in The Prendergasts: Retrospective Exhibition of the Work of Maurice and Charles Prendergast. (exh. cat., Addison Gallery of American Art, Phillips Academy). Andover, Massachusetts: Addison Gallery of American Art, Phillips Academy, 1938. Text p. 21 (checklist); ill. no. 65. Half a Century of American Art. (exh. cat., The Art Institute of Chicago). Chicago, Illinois: The Art Institute of Chicago, 1939. Text p. 38 (checklist); pl. V, no. 130. "Prendergast." Art Digest 14 (April 1, 1940): 9. Text p. 9. Devree, Howard. "A Reviewer's Notebook." New York Times (March 24, 1940): X10. Text p. X10. Lane, J. W. "Maurice Prendergast: An American Reviewed." Art News 38 (March 30, 1940): 15. Text p. 15. Rhys, Hedley Howell. Maurice Prendergast: The Sources and Development of His Style. PhD dissertation, Harvard University, 1952. Text pp. 57, 110; ill. no. 6. Adlow, Dorothy. "Boston Launches Prendergast Observances: Museum Celebrates Artist's Centennial." Christian Science Monitor (November 7, 1960): 7. Ill. p. 7. Rhys, Hedley Howell. Maurice Prendergast, 1859–1924. (exh. cat., Museum of Fine Arts). Boston and Cambridge, Massachusetts: Museum of Fine Arts, Boston and Harvard University Press, 1960. No. 8, p. 68 (checklist); ill. no. 8, p. 112 (black & white). Charles Condor, Robert Henri, James Morrice, Maurice Prendergast: The Formative Years, Paris 1890s. (exh. cat., Davis & Long Company). New York: Davis & Long Company, 1975. Ill. no. 37 (black & white). Langdale, Cecily. "Maurice Prendergast, An American Post-Impressionist." The Connoisseur 202:814 (December 1979): 248–53. Text p. 252. Glavin, Ellen M. "Maurice Prendergast: The Boston Experience." Art and Antiques (July–August 1982): 64–71. Text p. 68; ill. p. 69. Kirshner, Judith Russi. "The Terra Collection." United: The Magazine of the Friendly Skies (December 1982): 57. Ill. p. 57. Hemphill, Christopher. "Daniel Terra and His Museum." Arts and Antiques 7 (February 1984): 193–206. Text p. 195. Langdale, Cecily. Monotypes by Maurice Prendergast in the Terra Museum of American Art. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Museum of American Art, 1984. Text pp. 12, 13, 15, 41; fig. 5, p. 16 (black & white). Nochlin, Linda. Woman. (exh. cat., Terra Museum of American Art). Evanston, Illinois: Terra Museum of American Art, 1984. Ill. no. 45, p. 37 (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-105, p. 214 (color). Clark, Carol, Nancy Mowll Mathews and Gwendolyn Owens. Maurice Brazil Prendergast; Charles Prendergast: A Catalogue Raisonné. Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. No. 21, p. 216; ill. no. 21, p. 216 (black & white), pl. 7, p. 114 (color). Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 265 (June 26, 1991): 3213. Text p. 3213; ill. cover (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 p. 46; ill. opposite p. 46 (color).

Lady on the Boulevard

Maurice Brazil Prendergast

Date: 1892–94

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

Object number: 1992.64

Text Entries: Maurice Brazil Prendergast began experimenting with creating small paintings on panel during his first trip to Paris. This work is among those early efforts and reflects a recurring motif for Prendergast, that of the fashionably attired woman. Here she is executed with calligraphic vitality and painterly exuberance. Her over-the-shoulder glance and swirling skirt further enhance the expression of a moment in time captured.

The Luxembourg Garden, Paris

Maurice Brazil Prendergast

Date: c. 1890–94

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

Object number: 1992.68

Text Entries: The Magazine Antiques 117:5 (May 1980): 936. Ill. p. 936 (color). Sotheby's New York, New York (Sale 4375, May 12, 1980): lot 23. Langdale, Cecily. Monotypes by Maurice Prendergast in the Terra Museum of American Art. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Museum of American Art, 1984. Text pp. 12, 15, 41; fig. 1, p. 10 (black & white as The Tuileries Gardens, Paris). 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-106, p. 215 (color as The Tuileries Gardens, Paris). Clark, Carol, Nancy Mowll Mathews and Gwendolyn Owens. Maurice Brazil Prendergast; Charles Prendergast: A Catalogue Raisonné. Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. No. 9, p. 212; ill. no. 9, p. 212 (black & white as The Tuileries Gardens, Paris). Clark, Carol. American Drawings and Watercolors in the Robert Lehman Collection. New York: The Metropolitan Museum of Art in association with Princeton University Press, 1992. Text p. 81; fig. 4.6, p. 81. 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. 91, 264; pl. 82, p. 265 (color as The Tuileries Gardens, Paris). 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. 91, 264; pl. 82, p. 265 (color as The Tuileries Gardens, Paris). Reymond, Nathalie. Un regard américain sur Paris. (An American Glance at Paris). Chicago, Illinois: Terra Foundation for the Arts, 1997. Text p. 86; ill. p. 85 (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 p. 10; fig. 2, p. 11 (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 p. 10; fig. 2, p. 11 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. The People Work: American Perspectives, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 22, 29 (checklist); fig. 10, p. 22 (black & white). Bourguignon, Katherine M. and Elizabeth Kennedy. Le Travail à l'oeuvre: les artistes américains, 1840–1940. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text pp. 22, 29 (checklist); fig. 10, p. 22 (black & white). Adler, Kathleen et al. Americans in Paris, 1860–1900. (exh. cat. National Gallery of Art) London, England: National Gallery Company Limited, 2006. Text pp. 14, 93, 253; ill. cat. 2, p. 15 (color), p. 253 (color). Lecomte, Vanessa, editor. Portrait of a Lady : peintures de photographies américaines (exh. cat., Musée d'Art Américaine Giverny and Musée des beaux-arts de Bordeaux). Chicago, Illinois: Terra Foundation for American Art, 2008. Text (checklist) p. 94. Willsdon, Clare A.P. Impressionist Gardens. (exh. cat., National Galleries of Scotland). Edinburgh, Scotland: National Galleries of Scotland, 2010. Text, cat. no. 53, pp. 82, 158; ill. p. 82 (color). Willsdon, Clare A. P. Jardines Impressionistas. (exh. cat., Museo Thyssen-Bornemisza and Fundación Madrid). Madrid, Spain: Museo Thyssen-Bornemisza, 2010 (Spanish version). Text, cat. no. 106, p. 193; ill. p. 266 (color).

Evening on a Pleasure Boat

Maurice Brazil Prendergast

Date: 1895–97

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

Object number: 1999.110

Text Entries: "The Murphy and Prendergast Exhibition in Chicago." Boston Evening Transcript (January 3, 1900): 11. Text p. 11. Rhys, Hedley Howell. Maurice Prendergast, 1859–1924. (exh. cat., Museum of Fine Arts). Boston and Cambridge, Massachusetts: Museum of Fine Arts, Boston and Harvard University Press, 1960. Text p. 68 (checklist); ill. no. 6, p. 111 (black & white). Taylor, Robert. "One Vote Cast for Prendergast." Boston Herald (November 8, 1960): 32. Text p. 32. Read, Prudence. "Prendergast Works on View in Katonah." [New York] Patent Trader (October 11, 1962). Ill. Charles Condor, Robert Henri, James Morrice, Maurice Prendergast: The Formative Years, Paris 1890s. (exh. cat., Davis & Long Company). New York: Davis & Long Company, 1975. Ill. no. 36 (black & white). Green, Eleanor. Maurice Prendergast: Art of Impulse and Color. (exh. cat., University of Maryland Art Gallery). College Park, Maryland: University of Maryland, 1976. Text p. 38. Langdale, Cecily. Monotypes by Maurice Prendergast in the Terra Museum of American Art. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Museum of American Art, 1984. Text pp. 1, 13, 15, 41; fig. 9, p. 26 (black & white). 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-109, p. 218 (color). Mathews, Nancy Mowll. Maurice Prendergast. (exh. cat., Williams College Museum of Art). Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. Text pp. 16, 182 (checklist); pl. 18, p. 63 (color). Clark, Carol, Nancy Mowll Mathews and Gwendolyn Owens. Maurice Brazil Prendergast; Charles Prendergast: A Catalogue Raisonné. Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. No. 29, p. 219; ill. no. 29, p. 219 (black & white), pl.8, p. 115 (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. 92; fig. 86, p. 92 (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 p. 92; fig. 86, p. 92 (black & white). Regard sur cinq années d'expositions (Five years of Exhibitions at a Glance ). Chicago, Illinois: Terra Foundation for the Arts, 1997. Ill. p. 60 (color). Cartwright, Derrick R. Waves and Waterways: American Perspectives, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 12, 28 (checklist); fig. 4, p. 12 (black & white). Cartwright, Derrick R. Rivières et rivages: les artistes américains, 1850–1900. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Text pp. 12, 28 (checklist); fig. 4, p. 12 (black & white). Kennedy, Elizabeth et al. The Eight and American Modernisms. (exh. cat., New Britain Museum of American Art, New Britain, Connecticut and Milwaukee Art Museum, Milwaukee, Wisconsin). Chicago, Illinois: Terra Foundation for American Art, 2009. Text pp. 111, 175 (checklist); Ill. p. 123 (color). Homann, Joachim, Trevor J. Fairbrother, Nancy Mowill Mathews, Joseph J. Rishel and Richard J. Wattenmaker. Maurice Prendergast: By the Sea. (exh. cat., Bowdoin College Museum of Art). Brunswick, Maine: Bowdoin College Museum of Art and DelMonico Books, an imprint of Prestel Publishing, Munich, London and New York, 2013. Text p. 166; pl. 8, pp. 42-43 (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. 176-179; fig. 2, p. 177 (color).

Telegraph Hill

Maurice Brazil Prendergast

Date: c. 1895–1897

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

Object number: 1999.119a

Text Entries: Langdale, Cecily. Monotypes by Maurice Prendergast in the Terra Museum of American Art. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Museum of American Art, 1984. Text p. 13; fig. 10, p. 27 (black & white). 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-115, p. 224 (color). Clark, Carol, Nancy Mowll Mathews and Gwendolyn Owens. Maurice Brazil Prendergast; Charles Prendergast: A Catalogue Raisonné. Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. No. 23, p. 217; ill. no. 23, p. 217 (black & white).

Promenade with Parasols

Maurice Brazil Prendergast

Date: c. 1895–1897

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

Object number: 1999.119b

Text Entries: On an expanse of lawn overlooking the open sea, trios of women and girls promenade, sit, or gaze out over the water in Maurice Prendergast's Promenade with Parasols. Broadly painted in horizontal strokes or rounded spots of oil paint, the image has a dreamlike unreality. Several vessels, apparently old-fashioned fully-rigged sailing ships, float on the sea, and above a solitary tree on the right the arc of a fantastic rainbow of pink, yellow, and green cuts across the sky. Dark tones near the top edge suggest storm clouds rolling back from the scene. Before around 1909, Prendergast concentrated on watercolor painting and monotype printmaking and made relatively few paintings in oils. The latter share the small scale of his watercolor paintings and are often made on wood panels rather than the more conventional stretched canvas. Promenade with Parasols was painted on a panel on the other side of which Prendergast painted <a href="http://collection.terraamericanart.org/objects/529">Telegraph Hill (TF 1999.119a)</a>. In the mid-1980s, the panel was divided into two separate artworks. Both paintings are freely brushed images of women and girls on a shoreline, before a background expanse of water dotted with sailing ships. Like Prendergast's many views of local parks, such as the oil-on-panel painting <a href="http://collection.terraamericanart.org/objects/579">Franklin Park (TF 1999.112)</a>, also from the mid-1890s, these show the artist's attraction to flattened, frieze-like compositions across which figures and other forms are distributed in accordance with purely formal compositional values. Telegraph Hill, in the elevated South Boston area called Dorchester Heights, commands an expansive view of Dorchester Bay and the larger Boston Harbor. During the Revolutionary War, Dorchester Heights was the site of important American military fortifications that ultimately secured Boston from British control; American troops occupied it again during the War of 1812. In the mid-nineteenth century, Thomas Park was laid out in an oval at the summit of Telegraph Hill and in the following three decades the surrounding area was developed as a residential quarter. Undoubtedly Prendergast would have found Thomas Park peopled by visitors taking in the panoramic view of the bay dotted with ships. In his painting, all these forms serve his exploration of the decorative possibilities of pigment applied to a flat surface.

Entrance to the Harbor

Maurice Brazil Prendergast

Date: c. 1907

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

Object number: 1989.23

Text Entries: Although he enjoyed the bustle of Paris, Maurice Brazil Prendergast also traveled to the beaches of St. Malo and Dieppe along France's coast. Ostensibly created during one of these trips, this diminutive painting conveys the dynamism of roiling clouds and water through its loose, wide brushstrokes. Equally expressive is the application of paint in the foreground of the right-hand side-swirls of orange, white, and brown-which compose the almost unrecognizable forms of figures atop a cliff.

Salem Willows

Maurice Brazil Prendergast

Date: 1904

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

Object number: 1999.120

Text Entries: "Annual Exhibition at the Academy." Philadelphia Inquirer (January 19, 1902): II: 12. Text p. 12 (perhaps reference to Terra painting). Edgerton, Giles [Mary Fanton Roberts]. "The Younger American Painters: Are They Creating a National Art?" Craftsman 13 (February 1908): 512–32. Ill. p. 525 (as The Promenade). "'The Eight' Stir Up Many Emotions." Newark Evening News (May 8, 1909): 4. Ill. p. 4. Pepper, Charles Hovey. "Is Drawing to Disappear in Artistic Individuality?" The World To-Day 19 (July 1910): 716–19. Text p. 719. Cary, Elizabeth Luther. "The Maurice Prendergast Memorial Exhibition." New York Times (February 25, 1934): X: 12. Text p. 12X. Rhys, Hedley Howell. Maurice Prendergast: The Sources and Development of His Style. PhD dissertation, Harvard University, 1952. Text pp. 31, 87–88, 93, 128, 152. "Prendergast-Country's First Modern Artist." Boston Sunday Herald (October 23, 1960): 32. Ill. p. 32. Rhys, Hedley Howell. Maurice Prendergast, 1859–1924. (exh. cat., Museum of Fine Arts). Boston and Cambridge, Massachusetts: Museum of Fine Arts, Boston and Harvard University Press, 1960. Text p. 40, 69 (checklist); ill. no. 12, p. 114 (black & white). Green, Eleanor. Maurice Prendergast: Art of Impulse and Color. (exh. cat., University of Maryland Art Gallery). College Park, Maryland: University of Maryland, 1976. Text pp. 22, 43, 44, 48, 115; ill. p. 22 (black & white). Green, Eleanor. "Maurice Prendergast, Myth and Reality." American Art Review 4 (July 1977): 89–103. Text p. 90. Langdale, Cecily. Monotypes by Maurice Prendergast in the Terra Museum of American Art. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Museum of American Art, 1984. Text p. 144. Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." The Magazine Antiques 126:5 (November 1984): 1156–69. Pl. XXV, p. 1166 (color). Fairbrother, Trevor J. et al. The Bostonians: Painters of an Elegant Age, 1870–1930. (exh. cat., Museum of Fine Arts). Boston, Massachusetts: Museum of Fine Arts, 1986. Ill. no. 52, p.141 (black & white). Strickler, Susan E. American Traditions in Watercolor: The Worcester Art Museum Collection. Worcester, Massachusetts: The Worcester Art Museum Collection, 1987. Text p. 142. 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. Text p. 35; pl. T-117, p. 226 (color). Salem Willows, Maurice Brazil Prendergast. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, July 1989. Ill. (black & white). Clark, Carol, Nancy Mowll Mathews and Gwendolyn Owens. Maurice Brazil Prendergast; Charles Prendergast: A Catalogue Raisonné. Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. No. 46, p. 223; pl. 37, p. 144 (color), ill. no. 46, p. 233. Mathews, Nancy Mowll. Maurice Prendergast. (exh. cat., Williams College Museum of Art). Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. Text p. 19; fig. 13, p. 19 (black & white). Milroy, Elizabeth. Painters of a New Century: The Eight. (exh. cat., Milwaukee Art Museum). Milwaukee, Wisconsin: Milwaukee Art Museum, 1991. Text p. 141 (checklist); ill. p. 50 (color). Wattenmaker, Richard J. Maurice Prendergast. New York: Harry N. Abrams, Inc., Publishers in association with The National Museum of American Art, Smithsonian Institution, 1994. Text pp. 72–73; ill. p. 10 (color), pl. 51, p. 73 (black & white). Regard sur cinq années d'expositions (Five years of Exhibitions at a Glance). Chicago, Illinois: Terra Foundation for the Arts, 1997. Ill. p. 58 (color). Side by Side: Works from the Terra Foundation for the Arts and the Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 17; ill. p. 16 (color). Deux collections en regard: oeuvres de la Terra Foundation for the Arts et du Detroit Institute of Arts. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2003. Text p. 17; ill. p. 16 (color). Kennedy, Elizabeth. "American Artists and the Louvre." American Art Review (June 2006): 98–107. Text p. 103; ill. p. 103 (color). Kennedy, Elizabeth et al. The Eight and American Modernisms. (exh. cat., New Britain Museum of American Art, New Britain, Connecticut and Milwaukee Art Museum, Milwaukee, Wisconsin). Chicago, Illinois: Terra Foundation for American Art, 2009. Text pp. 111-112, 175 (checklist); Ill. p. 124 (color).Román, Dulce M. Monet and American Impressionism. (exh. cat. Samuel P. Harn Museum of Art, University of Florida, Gainesville). Gainesville, Florida: University of Florida, 2015. Ill. p. 139 (color). Art Across America. (exh. cat., National Museum of Korea, Los Angeles County Museum of Art, The Museum of Fine Arts, Houston, Philadelphia Museum of Art and the Terra Foundation for American Art). Seoul, South Korea: National Museum of Korea, 2013. (English and Korean versions). Text pp. 39, 267; ill. fig. 43, p. 39 (color), p. 266 (color). America: Painting a Nation. (exh. cat., Art Gallery of New South Wales, the Los Angeles County Museum of Art, the Museum of Fine Arts, Houston, the National Museum of Korea, the Philadelphia Museum of Art and the Terra Foundation for American Art). Sydney, Australia: Art Gallery of New South Wales, 2013. Text p. 162; ill. cat. no. 52, p. 163 (color). Homann, Joachim, Trevor J. Fairbrother, Nancy Mowill Mathews, Joseph J. Rishel and Richard J. Wattenmaker. Maurice Prendergast: By the Sea. (exh. cat., Bowdoin College Museum of Art). Brunswick, Maine: Bowdoin College Museum of Art and DelMonico Books, an imprint of Prestel Publishing, Munich, London and New York, 2013. Text p. 109; fig. 23, p. 109 (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 p. 192; ill. p. 192 (color). Piccoli, Valéria, Fernanda Pitta, and Taylor Poulin. Pelas ruas: vida moderna e experiências urbanas na arte dos Estados Unidos, 1893-1976. (exh. cat., Pinacoteca do Estado de São Paulo and Terra Foundation for American Art). São Paulo, Brazil: Pinacoteca do Estado de São Paulo, 2022. Pl. p. 36 (color).

Opal Sea

Maurice Brazil Prendergast

Date: c. 1907–10

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

Object number: 1999.118

Text Entries: Prendergast's works often place us in his own position as the quiet observer. In 1905, Prendergast lost some of his hearing and doctors recommended that he swim in the ocean as a cure. Ironically, the bright palette and expressive brushstroke of this painting convey the shouts of frolicking children, neighing donkeys, and surging waves. Opal Sea was aptly named for its opalescent palette by its first owner Charles Hovey Pepper, who bought the painting in 1909 when he was preparing to write an article on Prendergast for The World Today. The painting's non-specific title and the three-year date reflect Prendergast's technique of working simultaneously on up to ten different canvasses, finishing some and reworking others months even years later. He also worked from sketchbooks that allowed him to paint places and people years after he had actually seen them. This scene is probably a composite of beaches from Massachusetts, France, and Italy. Though his work never completely dissolves into abstraction, Prendergast often takes us to the edge of representation. The crowd of overlapping figures suggests the bustle of this summer day, although the swirl of colors and stylized forms challenge representational realism. As with many of his paintings, Opal Sea represents an occasion of artistic collaboration between Maurice and his brother, Charles, who designed the frame that surrounds the image.

Still Life with Apples and Vase

Maurice Brazil Prendergast

Date: c. 1910–1913

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

Object number: 1999.122

Text Entries: 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-119, p. 228 (color). Clark, Carol, Nancy Mowll Mathews and Gwendolyn Owens. Maurice Brazil Prendergast; Charles Prendergast: A Catalogue Raisonné. Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. No. 313, p. 274; ill. no. 313, p. 274 (black & white). 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. 96; fig. 97, p. 96 (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 p. 96; fig. 97, p. 96 (black & white). Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 267:2 (January 8, 1992): 197. Text p. 197; ill. cover (color). Southgate, M. Therese. "The Cover." The Journal of the American Medical Association Pakistan 4:5 (July 1992): 270. Text p. 270; ill. cover (color). Wells, James M. The Arts Club of Chicago: Seventy-Fifth Anniversary, 1916–1991. (exh. cat., The Arts Club of Chicago). Chicago, Illinois: The Arts Club of Chicago, 1992. Text p. 16, 103; ill. (color). Cartwright, Derrick R. and Paul J. Karlstrom. American Moderns, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Pl. 26, p. 54 (color). Cartwright, Derrick R. and Paul J. Karlstrom. L'Amérique et les modernes, 1900–1950. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2000. Pl. 26, p. 54 (color). Kennedy, Elizabeth et al. The Eight and American Modernisms. (exh. cat., New Britain Museum of American Art, New Britain, Connecticut and Milwaukee Art Museum, Milwaukee, Wisconsin). Chicago, Illinois: Terra Foundation for American Art, 2009. Text p. 175 (checklist); Ill. p. 119 (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. 74, 204; ill. opposite p. 74 (color).

The Grove

Maurice Brazil Prendergast

Date: c. 1918–23

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

Object number: 1992.63

Text Entries: Langdale, Cecily. Monotypes by Maurice Prendergast in the Terra Museum of American Art. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Museum of American Art, 1984. Text pp. 17, 19; fig. 15, p. 33 (black & white). 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-121, p. 230 (color). Clark, Carol, Nancy Mowll Mathews and Gwendolyn Owens. Maurice Brazil Prendergast; Charles Prendergast: A Catalogue Raisonné. Munich, Germany and Williamstown, Massachusetts: Prestel-Verlag and The President and Trustees of Williams College, 1990. No. 473, p. 319; ill. no. 473, p. 319 (black & white). Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 268:8 (August 26, 1992): 1035. Text p. 1035; ill. cover (color). The Journal of the American Medical Association France 5:39 (January 1993): cover. Ill. cover (color). Regard sur cinq années d'expositions. (Five years of Exhibitions at a Glance). Chicago, Illinois: Terra Foundation for the Arts, 1997. Ill. p. 58 (color). Kennedy, Elizabeth et al. The Eight and American Modernisms. (exh. cat., New Britain Museum of American Art, New Britain, CT and Milwaukee Art Museum, Milwaukee, WI). Chicago, Illinois: Terra Foundation for American Art, 2009. Text pp. 6, 175 (checklist); Ill. frontispiece (color).