Provenance

Ernest Rouart

French, 1874 - 1942

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French painter and art collector (1874-1942)

Explore Selected Works

A young woman with pale peach skin and light brown hair sits in profile facing our left in an upholstered chair in this vertical painting. The chair and woman take up most of the composition so seems close to us. She wears a long-sleeved white dress that sweeps to the floor, with black ribbons around her neck and atop her shoulder-length ringlets. The dress has small ruffles at her throat and a deep flounce at the bottom. She gazes down at the partially open fan she holds on her lap. The fan is touched with spots of pumpkin orange, plum purple, and royal blue on a beige background. Loose, swirling brushstrokes in golden tan and bright white against an ivory background suggest that the chair is upholstered with a floral-patterned fabric. A wooden desk or table is pushed against the wall behind the woman to our right and to our left, a white door, covered by a white curtain, opens onto a balcony with a wrought iron railing. Across the street, a couple of people lean out of open windows covered by turquoise-blue awnings on a cream-colored building.
Berthe Morisot, The Artist's Sister at a Window, 1869, oil on canvas, Ailsa Mellon Bruce Collection, 1970.17.47

The Artist's Sister at a Window

Berthe Morisot · 1869 · oil on canvas ·  Accession ID  1970.17.47

Jean-Baptiste-Camille Corot, Souvenir of Tuscany, 1844, graphite on wove paper, Collection of Mr. and Mrs. Paul Mellon, 1995.47.29

Souvenir of Tuscany

Jean-Baptiste-Camille Corot · 1844 · graphite on wove paper ·  Accession ID  1995.47.29

Two nude women with brown skin and long black hair stand with their backs to us at a riverbank in this stylized horizontal painting. The body of the woman to our left is angled to our left with her hands raised, presumably about to plunge into the teal-colored water. The woman to our right unwraps a cloth patterned with bright yellow flowers on a deep purple background from her waist. Between the women and farther away, a bare-chested man, also with brown skin, wears a tomato-red garment across his hips as he stands hip-deep in the water holding a long spear. The top of his head is cropped by the top edge of the painting. Along the left edge of the canvas, a gnarled tree is painted as a flat field of dark, charcoal gray, and it rises off the side and top of the composition. An area of the same color, perhaps a thick root or the trunk growing nearly horizontally, spans the width of the painting, separating the women from us. The area around the trunk to our left and right is painted with fields of evergreen and cool mint. Closer to us, along the front of the root, a field of rosy pink swirls with grape purple to suggest sand. This area is dotted with harvest-yellow and pumpkin-orange vines and stylized flowers. A bunch of vivid orange flowers with pine and spring-green leaves sits on the root near the trunk, to our left. Most of the painting, especially the landscape, is painted with areas of mostly flat color. In the bottom left corner, the artist has written the title of the painting in darkred paint: “Fatata te Miki.” In the lower right corner, he signed and dated the work with periwinkle blue: “P. Gauguin 92.”
Paul Gauguin, Fatata te Miti (By the Sea), 1892, oil on canvas, Chester Dale Collection, 1963.10.149

Fatata te Miti (By the Sea)

Paul Gauguin · 1892 · oil on canvas ·  Accession ID  1963.10.149

Shown from the knees up, a pale-skinned, clean-shaven man stands looking off to our right in this vertical portrait painting. The man’s body is squared to us, but he turns his head to the right and looks down in that direction with brown eyes. He has a wide-bridged nose, full lips, and a rounded chin. His cheekbone-length brown hair is parted to the side and brushed straight over his ears. His tomato-red cravat is tied high around his neck over a white shirt and an olive-green vest patterned with a gold-colored grid. His navy-blue coat falls almost to his knees, and he wears brown pants. The stone ledge comes almost to hip height, and the man leans onto his left hand, to our right, braced near its front ledge. The ledge and background are flint gray deepening to iron gray along the bottom edge. The artist signed the painting as if his name was carved into the front face of the ledge: “F. MILLET.”
Jean-François Millet, Leconte de Lisle, c. 1840/1841, oil on canvas, Chester Dale Collection, 1963.10.42

Leconte de Lisle

Jean-François Millet · c. 1840/1841 · oil on canvas ·  Accession ID  1963.10.42

Bibliography

1907

  • Ref Number: XXIX.106
    T.-B.XXIX.106

1919

  • Blanche, Jacques-Emile. "Notes sur la peinture moderne (a propos de la collection Rouart) in_Propos de Peintre_. 3 vols. Paris, 1919-1928:II De David à Degas: 245+

1932

  • Dormoy, Marie. "The Ernest Rouart Collection." Formes 24 (April 1932):257-259.

1989

  • Distel, Anne. Les collectionneurs des impressionists: Amateurs et marchands. Paris, 1989:177-185

1997

  • Grammont, Claudine. "Le legs Rouart: reunion de famille." Beaus-Arts Magazine 161 (October 1997): 100-105.

  • Lefranc, Celine. "Les tribulations d'une collection." Connaissance des Art 544 (November 1997): 110-115.