Provenance

Galerie Druet

est. 1903

Explore Selected Works

Félix Vallotton, Marigolds and Tangerines, 1924, oil on canvas, Chester Dale Collection, 1963.10.78

Marigolds and Tangerines

Félix Vallotton · 1924 · oil on canvas ·  Accession ID  1963.10.78

Paul Gauguin, Parau No Te Varau Ino (left); Tahitian Legend (right), c. 1890/1895, pen and brown ink, gray wash, and black chalk on J. Whatman paper, The Armand Hammer Collection, 1991.217.29

Parau No Te Varau Ino (left); Tahitian Legend (right)

Paul Gauguin · c. 1890/1895 · pen and brown ink, gray wash, and black chalk on J. Whatman paper ·  Accession ID  1991.217.29

We look slightly down onto a nearly nude woman with pale pink skin, who sits facing away from us as she lifts her hands to her dark hair in this vertical painting. The scene is painted with broad, visible strokes, and some details are difficult to make out. The woman's torso and head almost fill the vertical height of the painting. The scene is loosely painted so some details are indistinct, but she seems to face a mirror above the small table of a vanity. Visible brushstrokes in tones of pale peach and pink, taupe, and faint sage green capture her spine, shoulder blades, the muscles of her arms, and the dimple above her round buttocks. She uses both hands to pin up her chestnut-brown hair above a rectangular clip painted in muted gold with touches of light pink. She sits sideways in a wooden chair so the ladder-back is to our right. Her thighs are wrapped in a fluffy white piece of cloth, perhaps a towel, which may be wrapped with a ruby-red cloth or it could be a red cushion beneath. The surface of the narrow tabletop in front of her, to our left, is painted with areas of sage green, elephant gray, and royal blue. About a dozen orbs in coral orange and fuchsia pink above and around a band of canary yellow suggest flowers in a yellow vase along the left side of the table. The mirror above the vanity has a wide, gold frame. The woman’s reflection is painted with long strokes of ash brown with a few touches of rose pink. Though abstracted, the reflection seems to capture her torso and one bent elbow. The wall to our left of the vanity is pale pea green and to our right, dark brown. Streaks of honey-brown against a black field in the lower right corner suggests an area rug on an otherwise peanut-brown floor. The artist signed the work in marine blue in the lower left corner, “Henri Matisse.”
Henri Matisse, La coiffure, 1901, oil on canvas, Chester Dale Collection, 1963.10.165

La coiffure

Henri Matisse · 1901 · oil on canvas ·  Accession ID  1963.10.165

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Madame Lépine

Anonymous Artist · n.d. · oil on canvas ·  Accession ID  1970.17.39

Albert Marquet, The Pont Neuf, 1906, oil on canvas, Chester Dale Collection, 1963.10.164

The Pont Neuf

Albert Marquet · 1906 · oil on canvas ·  Accession ID  1963.10.164

This stylized, free-standing, wood sculpture shows a seated man with horns, creating a column-like shape. The statue is carved from polished, reddish-brown wood. The column is divided into three sections for the head, torso, and legs. In this photograph, the man faces us. He has gold-colored eyes under arched brows, a wide nose, thin lips, and a square jaw. The horns rise from over his temples. In the middle section, he holds his hands in front of his chest, nearly touching as if in prayer. The bottom section shows his shins, knees together. His feet, which are roughly carved, turn outward. The base along the bottom is carved with words painted in gold, reading, “PERE PAILLARO.”
Paul Gauguin, Père Paillard, 1902, painted miro wood, Chester Dale Collection, 1963.10.238

Père Paillard

Paul Gauguin · 1902 · painted miro wood ·  Accession ID  1963.10.238

Paul Sérusier, Farmhouse at Le Pouldu, 1890, oil on canvas, Gift of Alexander Mellon Laughlin and Judith Walker Laughlin, 2000.95.1

Farmhouse at Le Pouldu

Paul Sérusier · 1890 · oil on canvas ·  Accession ID  2000.95.1

Five women, all with brown skin, sit and stand in a landscape painted with tones of emerald green, mauve pink, lilac and plum purple, and cobalt blue in this horizontal composition. To the right of center, a nude woman stands on a patch of violet-colored ground with both arms overhead, as she looks up. To our left, two women wearing only pale blue cloths around their waists sit side-by-side on a patch of amethyst-purple ground. Both sit with their bodies angled to our right, and they look toward the ground with their arms across their chests. To our right of the standing woman, the final pair of women stand or walk toward the right edge of the painting. The woman to our left in that pair wears a dusky rose-pink dress and a bright, coral-pink head covering. She holds one arm across her chest, elbow bent. Next to her, the fifth woman is bare-chested with a white cloth tied around her waist, covering her legs. She looks to our right and holds up her arm, which extends off the right edge of the composition. The purple patches on the ground are surrounded by other areas of raspberry pink and mauve. A band of trees and vegetation stretches across the background, leading back to cobalt-blue mountains along the horizon. Mountains to each side of the composition brush the top edge, and the shallow U of sky between them is ivory white. The artist signed and dated the painting in the lower right corner, “Paul Gauguin 1903.”
Paul Gauguin, The Invocation, 1903, oil on canvas, Gift from the Collection of John and Louise Booth in memory of their daughter Winkie, 1976.63.1

The Invocation

Paul Gauguin · 1903 · oil on canvas ·  Accession ID  1976.63.1

A French window with its sill lined with flowerpots opens into a view of boats floating in a body of water in this loosely painted, vibrantly colored, stylized, vertical painting. The doors open inward, and they are painted with coral orange and cranberry red. The wall behind the door to the left is peacock blue and the wall to our right is fuchsia pink, and those colors are reflected in the opposite windows of the doors. Three flowerpots in crimson red, marmalade orange, or royal blue sit on the windowsill in front of us. Foliage in the pots is painted with short strokes of cardinal red and turquoise blue. Over the window, a two-paned transom window pierces a forest-green wall. The view through the panes has a band of salmon pink across the top and dabs of celery green and banana yellow below. The dabs and dashes of pine and lime green continue down the sides of the window and across the sill, suggesting vines growing up around the opening. A band of ultramarine blue beyond the flowerpots could be a balcony. Several rust-orange masts of ships with hulls painted with swipes of indigo blue, flamingo pink, forest green, and marigold orange float in the water beyond. The water is painted with parallel strokes in pale pink and butter yellow. The sky above is painted with thick, wavy lines of steel blue, periwinkle purple, and seafoam green. The artist signed the work in red paint in the lower right, “Henri Matisse.”
Henri Matisse, Open Window, Collioure, 1905, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1998.74.7

Open Window, Collioure

Henri Matisse · 1905 · oil on canvas ·  Accession ID  1998.74.7