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Edmund Tarbell

Born: 1862, West Groton, Massachusetts, United States of America
Died: 1938, New Castle, New Hampshire, United States of America

In the Orchard
1891

Oil on canvas
Image: 60 3/4 x 65 1/2 in. (154.3 x 166.4 cm)
Frame: 74 x 78 11/16 in. (188.0 x 199.9 cm)
Terra Foundation for American Art, Daniel J. Terra Collection, 1999.141
Signed: Lower right: Edmund C. Tarbell. 1891
Artist Name: []

Interpretation

In the Orchard is Edmund C. Tarbell’s image of his wife, Emeline Souther Tarbell, her siblings, and a family friend conversing in a bucolic setting on a summer’s afternoon. The figures have been identified as the artist’s sister-in-law, Lydia, standing at left and shown again, seated and with her back to the viewer, on the right; Lemira Eastman, a family friend, in dark blue; Richmond Souther, leaning over the back of the red bench; and Emeline, wearing a black hat and looking directly at the viewer. Poses and glances tie the five together in an intimate, convivial circle in the beneficent dappled sunlight of the orchard, which stretches away to a white fence in the distance. The work’s informal, contemporary subject, outdoor setting, and bright colors in distinct, rapidly applied paint strokes are hallmarks of the movement known as impressionism, which Americans such as Tarbell emulated from contemporary French artists.

Tarbell painted the orchard landscape while in France in 1886, near the end of a two-year stay interrupted by a brief return to his native Boston to become engaged to Emeline. Following his final return from France, he painted the figures, posed in the backyard of the Souther family’s home in Dorchester, then a near suburb of Boston. The ambitious young artist created this large composition for impressive effect. Exhibited in the extensive art display at the World’s Columbian Exposition in Chicago in 1893, it attracted considerable praise. At a time when many Americans still condemned what they regarded as the crudity and garishness of much French impressionist painting, Tarbell’s interpretation of the new style was a revelation. With its solidly rendered and obviously genteel figures, In the Orchard soothed critics of impressionism by demonstrating that its heightened color and loose brushwork could be used to celebrate youth and sunshine in a wholesome, thoroughly American spirit. The painting established Tarbell as the leader of a national movement in impressionist painting, and the artist astutely retained it, exhibiting it repeatedly throughout his lifetime.

While Tarbell claimed that he was unaffected by the impressionist paintings he had seen while in Europe, In the Orchard is clearly indebted to a major work by the French impressionist artist Pierre-Auguste Renoir (1841–1919), Luncheon of the Boating Party of 1880–81 (The Phillips Collection, Washington, D.C.). Tarbell certainly knew this painting, for when it was shown in Boston in 1883, he had made illustrations for the exhibition’s catalogue. Both Renoir’s and Tarbell’s are outdoor scenes of summer pleasure under dappled light. However, in contrast to Renoir’s portrayal of an easy-going mingling of men and women of diverse social classes, a feature of Parisian life that Americans associated with its lax moral tone, Tarbell pictured his wife’s relations in a group dominated by females in static poses that suggest both genteel leisure and propriety. Like his friend and close associate Frank W. Benson, whose image of his daughters, The Sisters, (TF 1999.11) is also in the Terra Foundation collection, Tarbell made his own family members his most important subject. Such works as In the Orchard affirmed the artist’s gentility, which put him on comparable social standing with many of his well-to-do potential patrons.

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Provenance

The artist
Mrs. E. C. Tarbell
Josephine Tarbell Ferrell
Dr. Albert Cannon
National Collection of Fine Arts, Washington, D.C.
Dr. Albert Cannon, Charleston, South Carolina
Vose Galleries, Boston, Massachusetts (partnership Ed Shein)
Herbert M. and Beverly Gelfand, Beverly Hills, California, 1981
Berry-Hill Galleries, Inc., New York, New York (dealer), Daniel J. Terra Collection, Chicago, Illinois, 1992
Terra Foundation for the Arts Collection, Chicago, Illinois, 1999

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Exhibition History

Frank W. Benson and Tarbell, St. Botolph Club, Boston, Massachusetts, 1891.

Sixty-seventh Annual Exhibition, National Academy of Design, New York, New York, April 4–May 14, 1892, no. 136.

World Columbian Exposition, Chicago, Illinois, May–October 1893.

Winter Exhibition, Worcester Art Museum, 1898–99, no. 85. [exh. cat.]

Exhibition, Museum of Fine Arts School of Drawing & Painting, Boston, Massachusetts, Spring/Summer, 1899, no. 274; February–May, November, Winter Exhibition, 1900; May 1902; Winter 1902; January 1903, no. 380; March 1903.

Exhibition, Durand-Ruel Galleries, New York, New York, 1902.

Exhibition of Ten American Painters (1898–1918), Durand-Ruel Galleries, New York, New York, 1903.

Eleventh Annual Exhibition of American Art, Cincinnati Art Museum, Cincinnati, Ohio, May 21–July 11, 1904.

A Collection of Paintings by Edmund C. Tarbell, Worcester Art Museum, Worcester, Massachusetts, April 21–May 7, 1905, no. 26. [exh. cat.]

Exhibition of Paintings by Edmund C. Tarbell, The Corcoran Gallery of Art, Washington, D.C., January 8–29, 1908, no. 17.

Paintings by Edmund C. Tarbell, Copley Society, Boston, Massachusetts, May 1912, no. 63.

Exhibition of Paintings by Edmund C. Tarbell, The Corcoran Gallery of Art, Washington, D.C., January 22–February 13, 1916, no. 30. [exh. cat.]

Frank W. Benson, Edmund C. Tarbell: Exhibition of Paintings, Drawings and Prints, Museum of Fine Arts, Boston, Massachusetts, November 16–December 15, 1938, no. 148. [exh. cat.]

Exhibition, National Collection of Fine Arts, Washington, D.C., March 1955.

Centennial Exhibition of Paintings by Edmund C. Tarbell N.A. (1862–1938), Smithsonian Institution, Washington, D.C., July 9–August 19, 1962, no. 6.

American Impressionist Painting, National Gallery of Art, Washington, D.C. (organizer). Venues: National Gallery of Art, Washington, D.C., July 1–August 26, 1973; Whitney Museum of American Art, New York, New York, September 18–November 2, 1973; Cincinnati Art Museum, Cincinnati, Ohio, December 15, 1973–January 31, 1974; The North Carolina Museum of Art, Raleigh, North Carolina, March 8–April 29, 1974. [exh. cat.]

Two American Impressionists: Frank W. Benson and Edmund C. Tarbell, University Art Galleries, University of New Hampshire, Durham, New Hampshire (organizer). Venue: University Art Galleries, University of New Hampshire, Durham, New Hampshire, March 12–April 26, 1979. [exh. cat.]

The Bostonians: Painters of an Elegant Age, 1870–1930, Museum of Fine Arts, Boston, Massachusetts (organizer). Venue: Museum of Fine Arts, Boston, Massachusetts, June 11–September 14, 1986. [exh. cat.]

American Impressionism: Masterworks from Public and Private Collections in the United States, Thyssen-Bornemisza Foundation, Lugano-Castagnola, Switzerland (organizer). Venues: Villa Favorita, Thyssen-Bornemisza Foundation, Lugano-Castagnola, Switzerland, July 22–October 28, 1990. [exh. cat.]

Revisiting the White City: American Art at the 1893 World's Fair, National Museum of American Art, Smithsonian Institution, Washington, D.C. and the National Portrait Gallery, Washington, D.C. (organizer). Venue: National Museum of American Art, Smithsonian Institution, Washington, D.C., April 16–August 15, 1993. [exh. cat.]

Collection Cameo, Terra Museum of American Art, Chicago, Illinois, October 1993.

American Impressionism and Realism: The Painting of Modern Life, 1885–1915, The Metropolitan Museum of Art, New York, New York and Amon Carter Museum, Fort Worth, Texas (organizer). Venues: The Metropolitan Museum of Art, New York, New York, May 10–July 24, 1994; Amon Carter Museum, Fort Worth, Texas, August 21–October 30, 1994; Denver Art Museum, Denver, Colorado, December 3, 1994–February 5, 1995; Los Angeles County Museum of Art, Los Angeles, California, March 12–May 14, 1995. [exh. cat.]

La Belle Epoque, Nassau County Museum of Art, Roslyn Harbor, New York (organizer). Venue: Nassau County Museum of Art, Roslyn Harbor, New York, June 11, 1995–September 24, 1995. [exh. cat.]

Ville et campagne: les artistes américains, 1870–1920 (The City and the Country: American Perspectives, 1870–1920), Musée d'Art Américain Giverny, France (organizer). Venues: Musée d'Art Américain Giverny, France, April 1–July 15, 1999; Terra Museum of American Art, Chicago, Illinois, December 10, 1999–May 7, 2000 (in modified form). [exh. cat.]

Selections from the Permanent Collection: Two Centuries of American Art, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, March 10–July 1, 2001.

Impressionism Transformed: The Paintings of Edmund C. Tarbell, Currier Gallery of Art, Manchester, New Hampshire (organizer). Venues: Currier Gallery of Art, Manchester, New Hampshire, October 13, 2001–January 7, 2002; Delaware Art Museum, Wilmington, Delaware, February 2–April 13, 2002; Terra Museum of American Art, Chicago, Illinois, May 11–July 20, 2002. [exh. cat.]

A Place on the Avenue: Terra Museum of American Art Celebrates 15 Years in Chicago, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, November 16, 2002–February 16, 2003.

American Classics from the Collection, Terra Museum of American Art, Chicago, Illinois (organizer). Venue: Terra Museum of American Art, Chicago, Illinois, May 14–June 15, 2003.

Copley to Cassatt: Masterworks from the Terra Collection, New Britain Museum of American Art, New Britain, Connecticut and Terra Museum of American Art, Chicago, Illinois (organizer). Venue: New Britain Museum of American Art, New Britain, Connecticut, September 5–December 7, 2003.

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.]

Le Temps des loisirs : peintures américaines (At Leisure: American Paintings), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, July 15–October 31, 2007.

Le Temps des loisirs : peintures américaines (At Leisure: American Paintings), Musée d'Art Américain Giverny, France (organizer). Venue: Musée d'Art Américain Giverny, France, April 1–October 31, 2008.

The American Impressionists in the Garden, Cheekwood Botanical Garden & Museum of Art, Nashville, Tennessee (organiser). Venues: Cheekwood Botanical Garden & Museum of Art, Nashville, Tennessee, March 13–September 6, 2010; Tampa Museum of Art, Tampa, Florida, September 24, 2010–January 3, 2011; Taft Museum of Art, Cincinnati, Ohio, February 18–May 15, 2011. [exh. cat.]

American Impressionism: a New Vision, 1880–1900 (L'Impressionnisme et les Américains/ Impresionismo Americano (French & Spanish titles), Musée des Impressionnismes Giverny, Giverny, France and the Terra Foundation for American Art, Chicago, Illinois in collaboration with the National Galleries of Scotland, Edinburgh, United Kingdom and the Museo Thyssen-Bornemisza, Madrid, Spain (organizers). Venues: Musée des Impressionnismes Giverny, Giverny, France, March 28–June 29, 2014; Scottish National Gallery, Edinburgh, United Kingdom, July 19–October 19, 2014; Museo Thyssen-Bornemisza, Madrid, Spain, November 4, 2014–February 1, 2015. [exh. cat.]

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Published References

“Academy Sculpture and Painting.” The New York Times (April 5, 1892): 3. Text p. 3.

Ward, Susan Hayes. “Fine Arts: At the National Academy’s Spring Exhibition.” The Independent 44, no. 2263 (April 14, 1892): 11. Text p. 11.

“The National Academy Exhibition: First Notice.” The Art Amateur: A Monthly Journal Devoted to Art in the Household 26, no. 6 (May 1892): 141. Text p. 141.

“The Bane of Our Picture Buyers.” Pittsburg Dispatch (May 14, 1892): 4. Text p. 4.

Kurtz, Charles M. "World's Columbian Exposition." The Art Gallery Illustrated. Philadelphia, Pennsylvania: George Barrie, 1893. Text p. 338.

Downes, William H. "New England Art at the World's Fair." The New England Magazine 14:3 (May 1893): 352-77. Text pp. 361–62; ill. p. 363.

De Soissons, S. C. Boston Artists: A Parisian's Critic's Notes Boston, 1894. Text p. 69.

“Boston Art Gossip.” The Art News (March 1897): 6-7. Text p. 6.

Winter Exhibition of the Worcester Art Museum. (exh. cat., Worcester Art Museum) Worchester, MA: Worcester Art Museum, 1898. Text p. 22, cat. no. 85 (checklist).

Morrell, Dora M. "A Boston Artist and His Work." Brush and Pencil 3, no. 4 (January 1899): 193-195, 197-199, 201. Text p. 201; ill. p. 197.

“Ten American Painters: Their Show Forestalls By a Week the Society.” The New York Times (March 19, 1904). Text.

A Collection of Paintings by Edmund C. Tarbell of Boston. Worcester, MA: Worcester Art Museum, 1905. Text (checklist).

Tomlinson, H.W. “Annual Art Exhibition in Denver.” Brush and Pencil 15, no. 6 (June 1905): 306-311. Ill. p. 310.

Exhibition of Paintings by Edmund C. Tarbell. Washington D.C.: The Corcoran Gallery of Art, 1916. Text (checklist).

Getlein, F. "Enduring Values in Tarbell Show." The Washington Star News (August 8, 1962): art column. Text and ill. (black & white).

"Artists, Sculpture File." Letter from D. W. Scott to Dr. A. Cannon (June 19, 1968), National Collection of Fine Arts, Washington, D.C. Box #122.

Haverstock, Mary Sayre. "A Halcyon Summer That Lingered On and On - In Painting." Smithsonian Institution 3:3 (July 1972): 36. Text p. 36.

Hoopes, Donelson F. The American Impressionists. New York: Watson-Guptill Publications, 1972. Text p. 102; pl. 42, p. 103.

Pilgrim, Dianne H. American Impressionist and Realist Paintings and Drawings from the Collection of Mr. & Mrs. Raymond J. Horowitz. (exh. cat., Metropolitan Museum of Art). New York: Metropolitan Museum of Art, 1973. Text p. 91.

Domit, Moussa M. American Impressionist Painting. (exh. cat., National Gallery of Art) Washington DC: National Gallery of Art, 1973. Ill. p. 124.

Britannica Encyclopedia of American Art. Chicago, Illinois: Encyclopedia Britannica Educational Corporation, 1973. Text p. 558; ill. p. 558 (color).

Pilgrim, Dianne H. "The National Gallery's Impressionist Show." American Art Review (January/February 1974): 126. Text p. 126.

Haley, Kenneth Coy. The Ten American Painters: Definition and Reassessment. PhD dissertation, State University of New York at Binghamton, 1975. Text p. 24.

Pierce, Patricia Jobe. The Ten. Concord, New Hampshire: Rumford Press, 1976. Ill. p. 175 (black & white).

Olney, Susan Faxon. Two American Impressionists: Frank W. Benson and Edmund C. Tarbell. (exh. cat., University Art Galleries). Durham, New Hampshire: University Art Galleries, University of New Hampshire, 1979. Ill. no. 3, p. 9 (black & white).

Gerdts, William H. American Impressionism. (exh. cat., Henry Art Gallery). Seattle, Washington: Henry Art Gallery, University of Washington, 1980. Text p. 92.

Pierce, Patricia Jobe. Edmund C. Tarbell and the Boston School of Painting. Hingham, Massachusetts: Pierce Galleries, Inc., 1980. Text pp. 38, 200, 228; ill. p. 37 (black & white).

Gerdts, William H. American Impressionism. New York: Abbeville Press, Publishers, 1984. Text pp. 117, 141, 172, 202; pl. 124, p. 115 (color).

Fairbrother, Trevor J. et al. The Bostonians: Painters of an Elegant Age, 1870-1930. (exh. cat., Museum of Fine Arts, Boston). Boston, Massachusetts: Museum of Fine Arts, Boston, 1986. Cat. 47, p. 136.

"The Bostonians: Painters of an Elegant Age, 1870–1930." Midway Magazine (June 1986): 26-30. Ill. p. 29 (color).

Gold, Anita. “The Bostonians’ Exhibition Provides an Inviting View.” The Chicago Tribune (March 6, 1987): 46. Text p. 46.

Frank W. Benson: The Impressionist Years. (exh. cat., Spanierman Gallery). New York: Spanierman Gallery, 1988. Text pp. 33, 36-37; fig. 2, p. 33 (color).

Gerdts, William H. American Impressionism. (exh. cat., Villa Favorita, Thyssen-Bornemisza Foundation, Lugano-Castagnola). Einsiedeln, Switzerland: Eidolon/Benziger, 1990. Text pp. 116, 159; ill. p. 117 (color).

Ten American Painters. (exh. cat., Spanierman Gallery). New York: Spanierman Gallery, 1990. Text pp. 26, 123–26; fig. 29, p. 27.

Enright, D. J. and David Rawlinson. The Oxford Book of Friendship. Oxford, England: Oxford University Press, 1991. Ill. cover (color detail).

Peters, Lisa N. American Impressionist Masterpieces. New York: Hugh Lauter Levin Associates, Inc., 1991. Text p. 72; ill. p. 73.

Athineos. "Terra's New Tarbell Raises Questions." Antique Monthly (December 1992): 21. Text p. 21; ill. p. 21.

Carr, Carolyn Kinder and Robert W. Rydell. Revisiting the White City: American Art at the 1893 World's Fair. (exh. cat., National Museum of American Art). Washington, D.C.: National Museum of American Art and National Portrait Gallery, 1993. Ill. p. 323 (black & white).

Tarbell, Bethany. "Edmund Tarbell in Private: A New England Painter and the Family that Inspired Him." Art and Antiques 15:1 (January 1993): 42–50. Text pp. 46, 50; ill. p. 43 (color detail).

Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 270:8 (August 25, 1993): 906. Text p. 906; ill. cover (color).

In the Orchard, Edmund Charles Tarbell. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, October 1993. Ill. (black & white).

Bedford, Faith Andrews. Frank W. Benson: American Impressionist. New York: Rizzoli International Publications, Inc., 1994. Text p. 52; pl. 24, p. 52 (color).

"American Impressionism and Realism: The Painting of Modern Life, 1885–1915." Amon Carter Museum Program (July-December 1994): 6–8. Ill. p. 7 (color).

The Journal of the American Medical Association Czechoslovakia (1994): cover. Ill. cover (color).

The Journal of the American Medical Association Portugal (1994): cover. Ill. cover (color).

Weinberg, H. Barbara et al. American Impressionism and Realism: The Painting of Modern Life, 1885–1915. (exh. cat., The Metropolitan Museum of Art). New York: The Metropolitan Museum of Art, 1994. Text p. 22; fig. 18, p. 23.

Buckley, Laurene. Joseph DeCamp: Master Painter of the Boston School. (exh. cat., Adelson Galleries, Inc.). Munich, Germany: Prestel-Verlag, 1995. Text p. 41; fig. 28, p. 54 (color).

La Belle Epoque. (exh. cat., Nassau County Museum of Art). Roslyn Harbor, New York: Nassau County Museum of Art, 1995. Ill. p. 41 (color).

Docherty, Linda J. "Model-Families: The Domesticated Studio Pictures of William Merritt Chase and Edmund C. Tarbell." In Not at Home: The Suppression of Domesticity in Modern Art and Architecture. Edited by Christopher Reed. London, England: Thames and Hudson, 1996. Text p. 58.

Hill, May Brawley. Furnishing the Old-Fashioned Garden: Three Centuries of American Summerhouses, Dovecotes, Pergolas, Privies, Fences & Birdhouses. New York: Harry N. Abrams, 1998. Ill. pp. 90 (color), back cover (color).

The American Art Book. London, England: Phaidon Press Ltd., 1999. Text p. 443; ill. p. 443 (color).

Berman, Ann E. "Private Eyes." Art & Auction (April 15, 1999): 50-55. Text p. 52; ill. p. 52.

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. 50 (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. 50 (color).

Fischer, Diane P., ed. Paris 1900: The "American School" at the Universal Exposition. (exh. cat., Montclair Art Museum). New Brunswick, New Jersey: Rutgers University Press, 1999. Text pp. 110; fig. 107, p. 108 (black & white).

Cartwright, Derrick. "The City and the Country: American Perspectives 1870–1920." American Art Review 12:1 (January/February 2000): 100-11. Ill. cover (color detail), table of contents, (color), p. 109 (color).

Joyes, Claire. The Taste of Giverny: At Home with Monet and the American Impressionists. Paris, France: Flammarion, 2000. Ill. p. 69 (color).

Buckley, Laurene. Edmund C. Tarbell: Poet of Domesticity. New York: Hudson Hills Press, Inc., 2001. Text pp. 14 n. 16, 44, 47, 119; pl. 8, p. 31 (color).

Docherty, Linda J., Erica E. Hirshler and Susan Strickler. "Family Pictures: The Impressionist Art of Edmund C. Tarbell." The Magazine Antiques (November 2001): 660-69. Text pp. 664–66; pl. VI, pp. 664–65 (color).

Docherty, Linda, Erica Hirschler and Susan Strickler. Impressionism Transformed: The Paintings of Edmund C. Tarbell. (exh. cat., Currier Galleries). Manchester, New Hampshire: Currier Galleries, 2001. Text pp. 21–22, 55–57, 75, 82, 140, 160 (checklist); pl. 15, p. 54 (color).

Impressionismus: Amerika-Frankreich-Russland. (exh. cat., Kunstforum Wien). Vienna, Austria: Kunstforum Wien, 2002. Text p. 49; pl. 11, p. 48 (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. 122, 126, 205; ill. pp. 10 (color), 123 (color), 205 (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. 122, 126, 205; ill. pp. 10 (color), 123 (color), 205 (black & white).

Artner, Alan G. “Terra Offers Adventure in Impressionism.” The Chicago Tribune (June 20, 2002). Text.

Kennedy, Elizabeth. "The Terra Museum of American Art." American Art Review (December 2002): 126–41. Text p. 136; ill. p. 134 (color).

Genocchio, Benjamin. “He Had a Love Affair with American Art.” The New York Times (September 21, 2003). Text.

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. 17, 26, 34 (checklist); ill. p. 51 (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. 17, 26, 34 (checklist); ill. p. 51 (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 pp. 22–23; ill. p. 21, fig. 4 (color).

Baron, Lynne Pauls F. Luis Mora: America's First Hispanic Master. Madison, CT: Falk Art Reference, 2008. Text p. 141; ill. p. 145 (color).

Moore, Honor. The White Blackbird: A Life of the Painter Margarett Sargent by Her Granddaughter. New York : W.W. Norton & Co., 2009. Text p. 86.

Hill, May Brawley. The American Impressionists in the Garden. (ex. cat., Cheekwood Botanical Garden & Museum of Art, Nashville, Tenessee). Nashville: Cheekwood Botanical Garden & Museum of Art and Vanderbilt University Press, 2010. Text pp. 16, 121 (checklist); ill. pl. 27, pp. 82–83 (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. 178, 214; ill. opposite p. 178 (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. 44; ill. pp. 44, 111 (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. 44; ill. pp. 44, 111 (color).

Bourguignon, Katherine M. L’Impressionnisme et les Americains. (exh. cat., Musée des Impressionnismes Giverny, National Galleries of Scotland, Museo Thyssen-Bornemisza). Giverny, France: Musée des Impressionnismes Giverny, 2014. Text p. 44; ill. pp. 44, 111 (color).

Hamilton, Adrian. “American Impressionism: An exhibition shows how Monet and Degas influenced a generation of artists.” The Independent (August 31, 2014). Accessed April 4, 2017. http://www.independent.co.uk/arts-entertainment/art/features/american-impressionism-an-exhibition-shows-how-monet-and-degas-influenced-a-generation-of-artists-9702536.html. Ill.

Green, Nancy E. and Christopher Reed, eds. JapanAmerica: Points of Contact, 1876–1970. (exh. cat., Herbert F. Johnson Museum of Art, Cornell University). Ithaca, New York: Herbert F. Johnson Museum of Art, Cornell University, 2016. Text p. 203, cat. no. 84; ill. p. 203, cat. no. 84 (color).

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