LaurieAnnie's photos with the keyword: 2018

Granary with figures and architecture Chinese Western Jin dynasty late 3rd century A.D. Medium/Technique: Stoneware, Yue ware with green glaze and engraved applied motifs Dimensions 47.6cm (18 3/4in.) Other (diameter of mouth): 8.6 cm (3 3/8 in.) Other (diameter of foot): 15.5 cm (6 1/8 in.) Credit Line: Charles Bain Hoyt Fund Accession Number1992.10 Collections: Asia Classifications: Ceramics – Pottery – Stoneware Text from: collections.mfa.org/objects/161911/granary-with-figures-and-architecture

Model of an Oxcart Chinese Tang dynasty 7th century A.D. Medium/Technique: Glazed and painted earthenware Dimensions Overall: 45.8cm (18 1/16in.) Credit Line: Bequest of Charles Bain Hoyt—Charles Bain Hoyt Collection Accession Number: 50.1864 Collections: Asia Classifications: Ceramics – Pottery – Earthenware Provenance: Lent by Charles B. Hoyt, October 24, 1944 Text from: collections.mfa.org/objects/21158/model-of-an-oxcart

Guardian figure (zhenmushou) Chinese Tang dynasty 7th–early 10th century A.D. Object Place: China Medium/Technique: Ceramic Dimensions: 68.3 cm (26 7/8 in.) Credit Line: The Elizabeth Day McCormick Collection Accession Number: 52.1686 Collections: Asia Classifications: Ceramics – Pottery – Earthenware Text from: collections.mfa.org/objects/124608/guardian-figure-zhenmushou

Dog with Relief Decoration Chinese Eastern Han dynasty 2nd century A.D. Medium/Technique: Glazed earthenware Dimensions: 30.6 cm (12 1/16 in.) Credit Line: Bequest of Charles Bain Hoyt—Charles Bain Hoyt Collection Accession Number: 50.1857 Collections: Asia Classifications: Ceramics Provenance: Lent by Charles B. Hoyt, October 24, 1944 Text from: collections.mfa.org/objects/21152/dog-with-relief-decoration

Dog with Relief Decoration Chinese Eastern Han dynasty 2nd century A.D. Medium/Technique: Glazed earthenware Dimensions: 30.6 cm (12 1/16 in.) Credit Line: Bequest of Charles Bain Hoyt—Charles Bain Hoyt Collection Accession Number: 50.1857 Collections: Asia Classifications: Ceramics Provenance: Lent by Charles B. Hoyt, October 24, 1944 Text from: collections.mfa.org/objects/21152/dog-with-relief-decoration

Guardian figure (zhenmushou) Chinese Tang dynasty 7th–early 10th century A.D. Object Place: China Medium/Technique: Ceramic Dimensions: 68.3 cm (26 7/8 in.) Credit Line: The Elizabeth Day McCormick Collection Accession Number: 52.1686 Collections: Asia Classifications: Ceramics – Pottery – Earthenware Text from: collections.mfa.org/objects/124608/guardian-figure-zhenmushou

The Water Lily Pond Claude Monet (French, 1840–1926) 1900 Medium/Technique: Oil on canvas Dimensions: 90.2 x 92.7 cm (35 1/2 x 36 1/2 in.) Credit Line: Given in memory of Governor Alvan T. Fuller by the Fuller Foundation Accession Number: 61.959 Collections: Europe Classifications: Paintings In 1883, Monet settled in the village of Giverny, about forty miles from Paris, and purchased a house there in 1890. Shortly thereafter, he acquired an additional plot of land, where he constructed a picturesque water garden. A Japanese bridge spanned the pond at its narrowest point. This is among the first of Monet's paintings to emphasize the reflections of the bank and the sky on the flat surface of the water. Inscriptions: Lower left: Claude Monet 1900 Provenance: December 1900, sold by the artist by Léonce Rosenberg (b. 1877 - d. 1947), Paris [see note 1]. 1923, Léon Orosdi, Paris [see note 2]; May 25, 1923, posthumous Orosdi sale, Hôtel Drouot, Paris, lot 41, to Durand-Ruel, Paris (stock no. 12162); November 27, 1926, sold by Durand-Ruel to Alvan Tufts Fuller (b. 1878 - d. 1958), Boston [see note 3]; 1959, the Alvan T. Fuller Foundation, Inc., Boston; 1961, gift of the Alvan T. Fuller Foundation to the MFA. (Accession Date: September 20, 1961) NOTES: [1] See Daniel Wildenstein, "Monet: Catalogue Raisonné," vol. 4 (1996), p. 731, cat. no. 1630. [2] According to a letter from Durand-Ruel, Paris, to the MFA (1962; in MFA curatorial file), Orosdi purchased almost all of his paintings from Bernheim-Jeune, Paris, although it cannot be confirmed that he acquired this painting from that gallery. [3] Information about Durand-Ruel's transactions is taken from a letter from Durand-Ruel to the MFA (as above, n. 2). Durand-Ruel states that this painting was sold to Mr. Fuller on November 27, 1927; however, he first lent it to the MFA on January 7 of that year. It is possible that the year of the sale was written incorrectly in the letter. Text from: collections.mfa.org/objects/33697/the-water-lily-pond

The Water Lily Pond Claude Monet (French, 1840–1926) 1900 Medium/Technique: Oil on canvas Dimensions: 90.2 x 92.7 cm (35 1/2 x 36 1/2 in.) Credit Line: Given in memory of Governor Alvan T. Fuller by the Fuller Foundation Accession Number: 61.959 Collections: Europe Classifications: Paintings In 1883, Monet settled in the village of Giverny, about forty miles from Paris, and purchased a house there in 1890. Shortly thereafter, he acquired an additional plot of land, where he constructed a picturesque water garden. A Japanese bridge spanned the pond at its narrowest point. This is among the first of Monet's paintings to emphasize the reflections of the bank and the sky on the flat surface of the water. Inscriptions: Lower left: Claude Monet 1900 Provenance: December 1900, sold by the artist by Léonce Rosenberg (b. 1877 - d. 1947), Paris [see note 1]. 1923, Léon Orosdi, Paris [see note 2]; May 25, 1923, posthumous Orosdi sale, Hôtel Drouot, Paris, lot 41, to Durand-Ruel, Paris (stock no. 12162); November 27, 1926, sold by Durand-Ruel to Alvan Tufts Fuller (b. 1878 - d. 1958), Boston [see note 3]; 1959, the Alvan T. Fuller Foundation, Inc., Boston; 1961, gift of the Alvan T. Fuller Foundation to the MFA. (Accession Date: September 20, 1961) NOTES: [1] See Daniel Wildenstein, "Monet: Catalogue Raisonné," vol. 4 (1996), p. 731, cat. no. 1630. [2] According to a letter from Durand-Ruel, Paris, to the MFA (1962; in MFA curatorial file), Orosdi purchased almost all of his paintings from Bernheim-Jeune, Paris, although it cannot be confirmed that he acquired this painting from that gallery. [3] Information about Durand-Ruel's transactions is taken from a letter from Durand-Ruel to the MFA (as above, n. 2). Durand-Ruel states that this painting was sold to Mr. Fuller on November 27, 1927; however, he first lent it to the MFA on January 7 of that year. It is possible that the year of the sale was written incorrectly in the letter. Text from: collections.mfa.org/objects/33697/the-water-lily-pond

Water Lilies Claude Monet (French, 1840–1926) 1905 Medium/Technique: Oil on canvas Dimensions: 89.5 x 100.3 cm (35 1/4 x 39 1/2 in.) Credit Line: Gift of Edward Jackson Holmes Accession Number: 39.804 Collections: Europe Classifications: Paintings Beginning in 1903, Monet embarked on a series of canvases depicting his water garden at Giverny. Here, the pads of lilies scattered across the painting suggest the water's surface, receding into space. The pattern of light and dark beneath the lilies indicates the reflection on the water-sky and the trees on a distant bank. Monet exhibited forty-eight of these "landscapes of water" in 1909. Fascinated by the artist's subtle fusion of reality and reflection, critics compared the paintings to poetry and music. Inscriptions: Lower right: Claude Monet 1905 Provenance: June 1909, sold by the artist to Durand-Ruel, Paris and New York, and Bernheim-Jeune, Paris [see note 1]; December 10, 1909, sold by Durand-Ruel to Alexander Cochrane (b. 1840 - d. 1919), Boston; December 21, 1909, sold by Alexander Cochrane to Durand-Ruel, New York; 1911, sold by Durand-Ruel to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1927), Boston; by descent to her son, Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1939, gift of Edward Jackson Holmes to the MFA. (Accession Date: December 14, 1939) NOTES: [1] The provenance information given here (through 1911) is taken from Daniel Wildenstein, "Monet: catalogue raisonné" (1996), vol. 4, p. 759, cat. no. 1671. Text from: collections.mfa.org/objects/32724/water-lilies

Water Lilies Claude Monet (French, 1840–1926) 1905 Medium/Technique: Oil on canvas Dimensions: 89.5 x 100.3 cm (35 1/4 x 39 1/2 in.) Credit Line: Gift of Edward Jackson Holmes Accession Number: 39.804 Collections: Europe Classifications: Paintings Beginning in 1903, Monet embarked on a series of canvases depicting his water garden at Giverny. Here, the pads of lilies scattered across the painting suggest the water's surface, receding into space. The pattern of light and dark beneath the lilies indicates the reflection on the water-sky and the trees on a distant bank. Monet exhibited forty-eight of these "landscapes of water" in 1909. Fascinated by the artist's subtle fusion of reality and reflection, critics compared the paintings to poetry and music. Inscriptions: Lower right: Claude Monet 1905 Provenance: June 1909, sold by the artist to Durand-Ruel, Paris and New York, and Bernheim-Jeune, Paris [see note 1]; December 10, 1909, sold by Durand-Ruel to Alexander Cochrane (b. 1840 - d. 1919), Boston; December 21, 1909, sold by Alexander Cochrane to Durand-Ruel, New York; 1911, sold by Durand-Ruel to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1927), Boston; by descent to her son, Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1939, gift of Edward Jackson Holmes to the MFA. (Accession Date: December 14, 1939) NOTES: [1] The provenance information given here (through 1911) is taken from Daniel Wildenstein, "Monet: catalogue raisonné" (1996), vol. 4, p. 759, cat. no. 1671. Text from: collections.mfa.org/objects/32724/water-lilies

Water Lilies Claude Monet (French, 1840–1926) 1905 Medium/Technique: Oil on canvas Dimensions: 89.5 x 100.3 cm (35 1/4 x 39 1/2 in.) Credit Line: Gift of Edward Jackson Holmes Accession Number: 39.804 Collections: Europe Classifications: Paintings Beginning in 1903, Monet embarked on a series of canvases depicting his water garden at Giverny. Here, the pads of lilies scattered across the painting suggest the water's surface, receding into space. The pattern of light and dark beneath the lilies indicates the reflection on the water-sky and the trees on a distant bank. Monet exhibited forty-eight of these "landscapes of water" in 1909. Fascinated by the artist's subtle fusion of reality and reflection, critics compared the paintings to poetry and music. Inscriptions: Lower right: Claude Monet 1905 Provenance: June 1909, sold by the artist to Durand-Ruel, Paris and New York, and Bernheim-Jeune, Paris [see note 1]; December 10, 1909, sold by Durand-Ruel to Alexander Cochrane (b. 1840 - d. 1919), Boston; December 21, 1909, sold by Alexander Cochrane to Durand-Ruel, New York; 1911, sold by Durand-Ruel to Mrs. Walter Scott Fitz (Henrietta Goddard Wigglesworth) (b. 1847 - d. 1927), Boston; by descent to her son, Edward Jackson Holmes (b. 1873 - d. 1950), Boston; 1939, gift of Edward Jackson Holmes to the MFA. (Accession Date: December 14, 1939) NOTES: [1] The provenance information given here (through 1911) is taken from Daniel Wildenstein, "Monet: catalogue raisonné" (1996), vol. 4, p. 759, cat. no. 1671. Text from: collections.mfa.org/objects/32724/water-lilies

Rocky Crags at L'Estaque Pierre-Auguste Renoir (French, 1841–1919) 1882 Medium/Technique: Oil on canvas Dimensions: 66.4 x 81 cm (26 1/8 x 31 7/8 in.) Credit Line: Juliana Cheney Edwards Collection Accession Number: 39.678 Collections: Europe Classifications: Paintings Renoir passed through Provence on his return trip to France from Italy in January 1882, stopping at the fishing village of L’Estaque on the Mediterranean coast, where Cézanne had painted regularly since the 1860s. The landscapes Renoir composed there betray the depth of his admiration for Cézanne, whose more structured, architectonic treatment of rock Renoir emulates in this painting. Inscriptions: Lower left: Renoir 82. Provenance: 1891, probably sold by the artist to Durand-Ruel, Paris [see note 1]; transferred from Durand-Ruel, Paris to Durand-Ruel, New York (stock no. 193-1191); February 25, 1892, sold by Durand-Ruel, possibly to Catholina Lambert (b. 1834 - d. 1923), Patterson, NJ [see note 2]. By 1915, Robert J. Edwards (d. 1924), Boston [see note 3]; 1924, by inheritance to his sister, Hannah Marcy Edwards (d. 1929), Boston; 1929, by inheritance to her sister, Grace M. Edwards (d. 1938), Boston; 1939, bequest of Hannah Marcy Edwards to the MFA [see note 4]. (Accession Date: October 11, 1939) NOTES: [1] Information about the Durand-Ruel transactions is taken from a letter from Charles Durand-Ruel to Angelica Rudenstine of the MFA (February 20, 1962, in MFA curatorial file). Also see "Renoir" (exh. cat., Hayward Gallery, London, January 30 - April 21, 1985), p. 233, cat. no. 64, where it is suggested that Renoir deposited this painting as early as 1883 with Durand-Ruel, where it was exhibited it as "Campagne de L'Estaque." [2] The letter from Durand-Ruel (as above, n. 1) states that the picture was sold to "Caroline Lambert," though it is possible that Mr. Catholina Lambert of Patterson, NJ, was intended. He was a significant collector of European paintings. [3] According to notes in the MFA curatorial file, he lent the painting to the MFA in that year. [4]Siblings Robert (d. 1924), Hannah (d. 1929), and Grace (d. 1938) Edwards were each collectors of art, who seemed to have had joint ownership of the objects in their possession. When Robert died, he bequeathed his collection to the MFA in memory of their mother, Juliana Cheney Edwards. In 1925, after his death, part of his collection was acquired by the Museum, and the remainder went to his sisters, with the understanding that the objects would ultimately be left to the MFA in the collection begun in memory of their mother. The collections of Hannah and Grace were left to the MFA in 1939, following Grace's death. It is not always possible to determine exactly which paintings each sibling had owned. Text from: collections.mfa.org/objects/32705/rocky-crags-at-lestaque

Rocky Crags at L'Estaque Pierre-Auguste Renoir (French, 1841–1919) 1882 Medium/Technique: Oil on canvas Dimensions: 66.4 x 81 cm (26 1/8 x 31 7/8 in.) Credit Line: Juliana Cheney Edwards Collection Accession Number: 39.678 Collections: Europe Classifications: Paintings Renoir passed through Provence on his return trip to France from Italy in January 1882, stopping at the fishing village of L’Estaque on the Mediterranean coast, where Cézanne had painted regularly since the 1860s. The landscapes Renoir composed there betray the depth of his admiration for Cézanne, whose more structured, architectonic treatment of rock Renoir emulates in this painting. Inscriptions: Lower left: Renoir 82. Provenance: 1891, probably sold by the artist to Durand-Ruel, Paris [see note 1]; transferred from Durand-Ruel, Paris to Durand-Ruel, New York (stock no. 193-1191); February 25, 1892, sold by Durand-Ruel, possibly to Catholina Lambert (b. 1834 - d. 1923), Patterson, NJ [see note 2]. By 1915, Robert J. Edwards (d. 1924), Boston [see note 3]; 1924, by inheritance to his sister, Hannah Marcy Edwards (d. 1929), Boston; 1929, by inheritance to her sister, Grace M. Edwards (d. 1938), Boston; 1939, bequest of Hannah Marcy Edwards to the MFA [see note 4]. (Accession Date: October 11, 1939) NOTES: [1] Information about the Durand-Ruel transactions is taken from a letter from Charles Durand-Ruel to Angelica Rudenstine of the MFA (February 20, 1962, in MFA curatorial file). Also see "Renoir" (exh. cat., Hayward Gallery, London, January 30 - April 21, 1985), p. 233, cat. no. 64, where it is suggested that Renoir deposited this painting as early as 1883 with Durand-Ruel, where it was exhibited it as "Campagne de L'Estaque." [2] The letter from Durand-Ruel (as above, n. 1) states that the picture was sold to "Caroline Lambert," though it is possible that Mr. Catholina Lambert of Patterson, NJ, was intended. He was a significant collector of European paintings. [3] According to notes in the MFA curatorial file, he lent the painting to the MFA in that year. [4]Siblings Robert (d. 1924), Hannah (d. 1929), and Grace (d. 1938) Edwards were each collectors of art, who seemed to have had joint ownership of the objects in their possession. When Robert died, he bequeathed his collection to the MFA in memory of their mother, Juliana Cheney Edwards. In 1925, after his death, part of his collection was acquired by the Museum, and the remainder went to his sisters, with the understanding that the objects would ultimately be left to the MFA in the collection begun in memory of their mother. The collections of Hannah and Grace were left to the MFA in 1939, following Grace's death. It is not always possible to determine exactly which paintings each sibling had owned. Text from: collections.mfa.org/objects/32705/rocky-crags-at-lestaque

Woman with a Parasol and Small Child on a Sunlit Hillside Pierre-Auguste Renoir (French, 1841–1919) about 1874–76 Medium/Technique: Oil on canvas Dimensions 47 x 56.2 cm (18 1/2 x 22 1/8 in.) Credit Line: Bequest of John T. Spaulding Accession Number: 48.593 Collections: Europe Classifications: Paintings Renoir’s model for this painting was likely Camille Monet, wife of his fellow Impressionist Claude Monet; Renoir painted her on several occasions between 1874 and 1876. Here she sits on a hillside, her white dress dappled with pink and blue in the shade. Her grace and composure stand in marked contrast to the toddling child who wanders off into the background at right, oblivious of the painter’s presence. InscriptionsLower left: Renoir ProvenanceAugust 25, 1891, sold by the artist to Durand-Ruel, Paris (stock no. 1541) [see note 1]; transferred from Durand-Ruel, Paris, to Durand-Ruel, New York (stock no. 1845-4935); January 14, 1917, sold by Durand-Ruel, New York, to Josef Stransky (b. 1872 - d. 1936), New York; sold by Stransky to Duncan Phillips (b. 1886 - d. 1966), Washington, DC; April 30, 1926, sold by Phillips to Durand-Ruel, New York (stock no. 8239); April 27, 1926 or 1927, sold by Durand-Ruel to John Taylor Spaulding (b. 1870 - d. 1948), Boston [see note 2]; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948) NOTES: [1] The provenance given here was provided by Durand-Ruel, Paris in a letter to the MFA (January 4, 1962; in MFA curatorial file); also see François Daulte, "Auguste Renoir: Catalogue Raisonné de l'Oeuvre Peint, I. Figures, 1860 - 1890" (Lausanne, 1971), cat. no. 260. [2] In their letter to the MFA (as above, n. 1) Durand-Ruel stated that they purchased the painting from Mr. Phillips on April 30, 1926 and sold it to John Taylor Spaulding in April 1926. Mr. Spaulding's receipt is dated April 27, 1926. Daulte (as above, n. 1) gives Spaulding' s purchase date as April 27, 1927. Text from: collections.mfa.org/objects/33322/woman-with-a-parasol-and-small-child-on-a-sunlit-hillside

Woman with a Parasol and Small Child on a Sunlit Hillside Pierre-Auguste Renoir (French, 1841–1919) about 1874–76 Medium/Technique: Oil on canvas Dimensions 47 x 56.2 cm (18 1/2 x 22 1/8 in.) Credit Line: Bequest of John T. Spaulding Accession Number: 48.593 Collections: Europe Classifications: Paintings Renoir’s model for this painting was likely Camille Monet, wife of his fellow Impressionist Claude Monet; Renoir painted her on several occasions between 1874 and 1876. Here she sits on a hillside, her white dress dappled with pink and blue in the shade. Her grace and composure stand in marked contrast to the toddling child who wanders off into the background at right, oblivious of the painter’s presence. InscriptionsLower left: Renoir ProvenanceAugust 25, 1891, sold by the artist to Durand-Ruel, Paris (stock no. 1541) [see note 1]; transferred from Durand-Ruel, Paris, to Durand-Ruel, New York (stock no. 1845-4935); January 14, 1917, sold by Durand-Ruel, New York, to Josef Stransky (b. 1872 - d. 1936), New York; sold by Stransky to Duncan Phillips (b. 1886 - d. 1966), Washington, DC; April 30, 1926, sold by Phillips to Durand-Ruel, New York (stock no. 8239); April 27, 1926 or 1927, sold by Durand-Ruel to John Taylor Spaulding (b. 1870 - d. 1948), Boston [see note 2]; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948) NOTES: [1] The provenance given here was provided by Durand-Ruel, Paris in a letter to the MFA (January 4, 1962; in MFA curatorial file); also see François Daulte, "Auguste Renoir: Catalogue Raisonné de l'Oeuvre Peint, I. Figures, 1860 - 1890" (Lausanne, 1971), cat. no. 260. [2] In their letter to the MFA (as above, n. 1) Durand-Ruel stated that they purchased the painting from Mr. Phillips on April 30, 1926 and sold it to John Taylor Spaulding in April 1926. Mr. Spaulding's receipt is dated April 27, 1926. Daulte (as above, n. 1) gives Spaulding' s purchase date as April 27, 1927. Text from: collections.mfa.org/objects/33322/woman-with-a-parasol-and-small-child-on-a-sunlit-hillside

Woman with a Parasol and Small Child on a Sunlit Hillside Pierre-Auguste Renoir (French, 1841–1919) about 1874–76 Medium/Technique: Oil on canvas Dimensions 47 x 56.2 cm (18 1/2 x 22 1/8 in.) Credit Line: Bequest of John T. Spaulding Accession Number: 48.593 Collections: Europe Classifications: Paintings Renoir’s model for this painting was likely Camille Monet, wife of his fellow Impressionist Claude Monet; Renoir painted her on several occasions between 1874 and 1876. Here she sits on a hillside, her white dress dappled with pink and blue in the shade. Her grace and composure stand in marked contrast to the toddling child who wanders off into the background at right, oblivious of the painter’s presence. InscriptionsLower left: Renoir ProvenanceAugust 25, 1891, sold by the artist to Durand-Ruel, Paris (stock no. 1541) [see note 1]; transferred from Durand-Ruel, Paris, to Durand-Ruel, New York (stock no. 1845-4935); January 14, 1917, sold by Durand-Ruel, New York, to Josef Stransky (b. 1872 - d. 1936), New York; sold by Stransky to Duncan Phillips (b. 1886 - d. 1966), Washington, DC; April 30, 1926, sold by Phillips to Durand-Ruel, New York (stock no. 8239); April 27, 1926 or 1927, sold by Durand-Ruel to John Taylor Spaulding (b. 1870 - d. 1948), Boston [see note 2]; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948) NOTES: [1] The provenance given here was provided by Durand-Ruel, Paris in a letter to the MFA (January 4, 1962; in MFA curatorial file); also see François Daulte, "Auguste Renoir: Catalogue Raisonné de l'Oeuvre Peint, I. Figures, 1860 - 1890" (Lausanne, 1971), cat. no. 260. [2] In their letter to the MFA (as above, n. 1) Durand-Ruel stated that they purchased the painting from Mr. Phillips on April 30, 1926 and sold it to John Taylor Spaulding in April 1926. Mr. Spaulding's receipt is dated April 27, 1926. Daulte (as above, n. 1) gives Spaulding' s purchase date as April 27, 1927. Text from: collections.mfa.org/objects/33322/woman-with-a-parasol-and-small-child-on-a-sunlit-hillside

Woman with a Parasol and Small Child on a Sunlit Hillside Pierre-Auguste Renoir (French, 1841–1919) about 1874–76 Medium/Technique: Oil on canvas Dimensions 47 x 56.2 cm (18 1/2 x 22 1/8 in.) Credit Line: Bequest of John T. Spaulding Accession Number: 48.593 Collections: Europe Classifications: Paintings Renoir’s model for this painting was likely Camille Monet, wife of his fellow Impressionist Claude Monet; Renoir painted her on several occasions between 1874 and 1876. Here she sits on a hillside, her white dress dappled with pink and blue in the shade. Her grace and composure stand in marked contrast to the toddling child who wanders off into the background at right, oblivious of the painter’s presence. InscriptionsLower left: Renoir ProvenanceAugust 25, 1891, sold by the artist to Durand-Ruel, Paris (stock no. 1541) [see note 1]; transferred from Durand-Ruel, Paris, to Durand-Ruel, New York (stock no. 1845-4935); January 14, 1917, sold by Durand-Ruel, New York, to Josef Stransky (b. 1872 - d. 1936), New York; sold by Stransky to Duncan Phillips (b. 1886 - d. 1966), Washington, DC; April 30, 1926, sold by Phillips to Durand-Ruel, New York (stock no. 8239); April 27, 1926 or 1927, sold by Durand-Ruel to John Taylor Spaulding (b. 1870 - d. 1948), Boston [see note 2]; 1948, bequest of John Taylor Spaulding to the MFA. (Accession Date: June 3, 1948) NOTES: [1] The provenance given here was provided by Durand-Ruel, Paris in a letter to the MFA (January 4, 1962; in MFA curatorial file); also see François Daulte, "Auguste Renoir: Catalogue Raisonné de l'Oeuvre Peint, I. Figures, 1860 - 1890" (Lausanne, 1971), cat. no. 260. [2] In their letter to the MFA (as above, n. 1) Durand-Ruel stated that they purchased the painting from Mr. Phillips on April 30, 1926 and sold it to John Taylor Spaulding in April 1926. Mr. Spaulding's receipt is dated April 27, 1926. Daulte (as above, n. 1) gives Spaulding' s purchase date as April 27, 1927. Text from: collections.mfa.org/objects/33322/woman-with-a-parasol-and-small-child-on-a-sunlit-hillside

The Tea Le Thé Mary Stevenson Cassatt (American, 1844–1926) about 1880 Medium/Technique: Oil on canvas Dimensions: 64.77 x 92.07 cm (25 1/2 x 36 1/4 in.) Credit Line: M. Theresa B. Hopkins Fund Accession Number: 42.178 Collections: Americas Classifications: Paintings Cassatt’s paintings often document the social interactions of well-to-do women like herself. The activities they depict—tea drinking, going to the theatre, tending children—fall within the normal routine for Cassatt’s sex and class. Yet the painter’s insistence upon representing such episodes from the modern world (even a sheltered segment of it), her dislike for narrative, and her devotion to surface arrangement and color, all evident in The Tea, mark Cassatt’s dedication to the most advanced artistic principles of her day. In 1877 Cassatt had been invited by Edgar Degas to join a group of independent artists, later known as the Impressionists. “I accepted with joy,” she later recalled. “I hated conventional art.” [1]She was one of just a few women, and the only American, to exhibit with the group. In the late 1870s and early 1880s, Cassatt made a number of images that show women participating in the domestic and social ritual of drinking tea. Among these works are two related oils, The Cup of Tea (about 1880–81) and Lady at the Tea Table (1883–85), both in the collection of the Metropolitan Museum of Art, New York, and a number of prints, among them the MFA’s Tea [M25007] and Afternoon Tea Party [41.811]. Cassatt’s painting The Tea is set in a contemporary drawing room, sometimes described as Cassatt’s own. The fine striped wallpaper and carved marble fireplace, ornamented with an elaborately framed painting and a porcelain jar, are typical of an upper-middle class Parisian interior, and the antique silver tea service on the foreground table implies a distinguished family history. The two women play the traditional roles of hostess and guest, although it appears that their conversation has lapsed: the hostess (on the left, in a simple brown day dress) rests her hand on her chin while her guest (wearing the hat, scarf, and gloves that indicate she has stepped in from outside) sips her tea. The hostess is often identified as Cassatt’s sister Lydia and the guest as a family friend, but it is equally likely the women were Cassatt’s usual models, one brunette and one blonde; the women appear in several of Cassatt’s contemporary scenes of women at the opera. Despite these conservative and tasteful surroundings, Cassatt’s painting is a declaration of modernity that demonstrates her rejection of several traditional artistic conventions. First, Cassatt denies the human form its usual compositional primacy: the tea service seems larger in scale than the women themselves. This pictorial conceit of giving inanimate objects equal priority with figures was sometimes employed by Cassatt’s friend Degas. Cassatt further defies custom by obscuring the face of her subject, rendering the guest in the transitory act of drinking. The guest’s pose is a momentary one, for she will soon lift the delicate cup from her lips and replace it on the saucer she balances in her left hand. By selecting the only point in the action when her subject’s face is almost completely hidden by the teacup, Cassatt reiterates her modernist creed that her painting is not only about representing likeness, but also about design and color. She uses the oval shapes of cups and saucers, trays, hats, and faces as repetitive patterns, offsetting the strict graphic geometry of the gray and rose striped wallpaper. Cassatt’s concentration upon the formal elements of her composition earned her disapproval from contemporary critics when the painting was first shown in Paris during the fifth Impressionist exhibition of 1880. Paul Mantz, generally a conservative writer, called it “poorly drawn” and commented upon the “wretched sugar bowl [which] remains floating in the air like a dream,”[2] while Philippe Burty, a respected critic who often supported the Impressionists, regretted her “partially completed image[s].” [3]Responding perhaps both to the custom of tea drinking and to the proper, bourgeois interior represented here, the sympathetic commentator J.-K. Huysmans wrote, “Miss Cassatt is evidently also a pupil of English painters” and concluded that The Tea was an “excellent canvas.”[4] Cassatt’s painting was quickly purchased by the great French art collector Henri Rouart, who hung it in a small salon in his home, not far from a pastel of women at a milliner’s shop made by their mutual friend Degas (At the Milliner’s, 1882, MuseoThyssen-Bornemisza, Madrid). After Rouart’s death in 1912, his collection was dispersed at auction in Paris; another important connoisseur, Dikran Kelekian, an internationally renowned dealer in near eastern antiquities and a staunch supporter of modern French art, acquired The Tea soon thereafter. The silver tea service Cassatt depicted was part of a family set made in Philadelphia about 1813, of which six pieces (but not the tray) are now in the MFA’s collection [ www.mfa.org/search/collections?credit_line=Anonymous%20gift%20in%20honor%20of%20Eugenia%20Cassatt%20Madeira ]. Notes 1. Achille Segard, Mary Cassatt: Un peintre des enfants et des mères (Paris: Librairie Paul Ollendorff,1913), 8. 2. Paul Mantz, “Exposition des Oeuvres des Artistes Indépendants,” Le Temps, April 14, 1880, 3. Philippe Burty, “Exposition des Oeuvres des Artistes Indépendants,” La République Française, April 10, 1880, 2. 4. Joris-Karl Huysmans, “L’exposition des Indépendants en 1880,” in L’art moderne (Paris, 1883), 110. Erica E. Hirshler Catalogue Raisonné Breeskin 78 Inscriptions: Signed lower left: Mary Cassatt Provenance: About 1881, sold by the artist to Henri Rouart (1833-1912), Paris; Dec. 9-11, 1912, Henri Rouart sale, Galerie Manzi-Joyant, Paris, lot 9, to Dikran G. Kelekian (1868-1951), Paris; 1942, sold by Dikran Kelekian to the MFA for $6,000. (Accession Date: April 9, 1942) Text from: collections.mfa.org/objects/32829/the-tea