Provenance

Marie Harriman Gallery

American, extant 1930 - 1942

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See all 14 works of art
Three apples and two pears sit next to a knife and a luminous, white mug on a tan, stone surface before a muted, olive-green background in this horizontal still life painting. The objects and background are painted with blended strokes, giving the painting a soft, glowing appearance. At the center of the ledge or table, the apples are dappled with candy red and pale yellow. Two golden and moss-green pears are to our left, one upright and the other lying with its stem coming toward us. The fruit is painted with white highlights from a light source to our left. The cream-white mug sits next to the apples to our right. The mug has straight sides, a low band near the top and bottom, and the handle curves out to our right. Between the apples and mug, the black handle of a knife angles to our right, off the edge of the table. Shadows are painted in brick red on the surface of the table, which extends off both sides of the canvas. There is a vertical seam in the table under the upright pear.
Jean Siméon Chardin, Still Life with a White Mug, c. 1764, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.6

Still Life with a White Mug

Jean Siméon Chardin · c. 1764 · oil on canvas ·  Accession ID  1972.9.6

Shown from the thighs up, a woman faces our left in profile as she lifts up one hand and holds a closed fan in the other in this vertical painting. The woman has pale, peachy skin, and her dark hair is tied with a pink bow at the back of her crown. She looks to our left with heavy-lidded eyes. She has a delicately pointed nose, and her lips are closed. Her electric-blue, long-sleeved shirt is tight fitting and has a scooped neck. A blue cloth ties around her waist and falls over a brown skirt. One knee juts forward. Her right hand, farther from us, is held face-high with the palm facing away. The fan is held out in the other hand in front of the woman’s waist. The background is streaked with smoky blue and gray. The artist signed and dated the lower right corner, “Picasso 1905.”
Pablo Picasso, Lady with a Fan, 1905, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.19

Lady with a Fan

Pablo Picasso · 1905 · oil on canvas ·  Accession ID  1972.9.19

Gustave Courbet, La Bretonnerie in the Department of Indre, 1856, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.8

La Bretonnerie in the Department of Indre

Gustave Courbet · 1856 · oil on canvas ·  Accession ID  1972.9.8

A whole pineapple in a dish, a small white bottle with a stopper, and two pieces of yellow fruit sit on a round, gold-toned tray in this loosely painted, horizontal still life. We look slightly down onto the tray, which fills more than the bottom half of the painting. The objects on the tray are clustered on its left half. At the back, the pineapple sits in an octagonal white bowl with a turquoise interior so the pineapple’s leaves angle away from us. The hand-sized, white bottle is painted on its round belly with pink flowers and green leaves. One piece of yellow fruit is streaked with red. Orange, yellow, and red pieces of fruit sit behind the tray to our right. The peach-colored table is near a wall painted loosely with vivid pink flowers and muted green leaves against a slate-gray background. The artist signed the lower right corner, “Henri-Matisse.”
Henri Matisse, Still Life with Pineapple, 1924, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.18

Still Life with Pineapple

Henri Matisse · 1924 · oil on canvas ·  Accession ID  1972.9.18

Beyond a dense screen of stylized, dark brown tree trunks, bending branches, and sage and moss-green leaves, a man and woman ride side-by-side on horseback and embrace in this vertical landscape painting. Both people have pale skin. Closest to us, two spindly trees almost reach the top edge of the canvas, their stylized leaves silhouetted against the sky. Trees and bushes with laurel and dark green leaves create a band across the foreground. Near the bottom center of the composition, the woman is closer to us but she turns her face to touch noses with the man riding next to her. Long, straight blond hair flows to her waist. She has pronounced, dark eyes under heavy brows, and a large nose. She wears a burgundy-red jacket with horizontal, gold stripes across the chest. A white shirt beneath shows through where the jacket gapes open at the chest and at her cuffs. She holds the reins of her black horse in her left hand. The man turns his torso toward the woman and wraps his left arm, to our right, around the woman’s shoulders. He looks at her with black eyes under dark brows. He has a black, handlebar mustache and white hair. He wears a black and gold three-corner hat and a navy-blue jacket with gold braid in front and around the neck. His horse is brown with a silvery-white mane. Behind the people, the forest comes about two-thirds of the way up the composition. One tan-brown cloud hangs in the sky that lightens from seafoam green along the top edge to oyster white along the horizon. The artist signed the painting in the lower right: “Henri Rousseau.”
Henri Rousseau, Rendezvous in the Forest, 1889, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.20

Rendezvous in the Forest

Henri Rousseau · 1889 · oil on canvas ·  Accession ID  1972.9.20

A few pale brown buildings with terracotta red roofs are nestled among hills at the base of a towering, icy-blue mountain in this horizontal landscape painting. Only the pale indigo-violet shadows of the mountain are laid in, leaving the rest as the white of the canvas. The buildings and muted brown hills, blue shadows, and touches of sage green below are loosely painted with visible brushstrokes throughout around more blank areas of canvas.
Paul Cezanne, Montagne Sainte-Victoire, from near Gardanne, c. 1887, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.4

Montagne Sainte-Victoire, from near Gardanne

Paul Cezanne · c. 1887 · oil on canvas ·  Accession ID  1972.9.4

Four boats with low masts sit on a sandy beach next to rocky cliffs under a cloud-filled sky in this horizontal landscape painting. Three of the boats are clustered together near the center of the composition. The fourth is a short distance away to our left. The beach is painted with visible dabs and strokes of tan and cream white with gray shadows. The vertical cliffs are not much taller than the boats' masts and are painted in with smears and smudges of warm brown and black. The beach is dark with shoals where it meets the water beyond the boats. Two sailboats with white sails are on the water in the distance. Bands of parchment white, gray, and smoky lavender purple gather in the icy blue sky above the horizon, which comes about a quarter of the way up the composition. The artist signed the work in rust-red letters in the lower right corner, “G. Courbet.”
Gustave Courbet, Boats on a Beach, Etretat, c. 1872/1875, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.7

Boats on a Beach, Etretat

Gustave Courbet · c. 1872/1875 · oil on canvas ·  Accession ID  1972.9.7

Edgar Degas, Young Woman Dressing Herself, 1885, pastel over charcoal on tan wove(?) paper mounted on board, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.9

Young Woman Dressing Herself

Edgar Degas · 1885 · pastel over charcoal on tan wove(?) paper mounted on board ·  Accession ID  1972.9.9

Painted with loose, visible brushstrokes mostly in shades of spring green, sky blue, straw yellow, and ivory white, four couples lock in intense embraces across a landscape in front of a body of water in this nearly square painting. Trees rise up and off the top edges to both sides of the canvas, and a band of green grass runs across the width. Just beyond, a body of pale blue water extends to the horizon, which comes about a quarter of the way up the composition. Off-white clouds swirl against the topaz-blue sky above. Three pairs of people are spaced evenly across the grass, close to us, and the fourth pair are on a steep rise to our right. The people all have pale or slightly peachy skin, and most of them have honey-yellow hair. The painting technique is loose throughout, making many details, especially facial features and some body parts, indistinct. Near the lower left corner, a nude person crouches on the ground with an arm raised overhead while another person, nude except for a few swipes of brick red to suggest a cape, stands above with one arm raised. At the center of the painting, two people with long, blond hair seem to embrace, though the one farther from us is partially or wholly lifted off the ground. To our right, a tanned person kneels over a pale, nude woman with rounded breasts and hips. Their heads blend together, possibly to suggest that they kiss, and one of them has black hair. They hold hands locked overhead. Dark gray strokes nearby in the lower right corner of the painting suggest a dog leaping at this couple. The fourth pair is on a sand-colored rise, about halfway up the right edge of the composition. They are even more loosely painted, but one person seems to grab onto the other as they tip toward the ground or water below.
Paul Cezanne, The Battle of Love, c. 1880, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.2

The Battle of Love

Paul Cezanne · c. 1880 · oil on canvas ·  Accession ID  1972.9.2

Paul Cezanne, Man with Pipe, 1892/1896, oil on canvas, Gift of the W. Averell Harriman Foundation in memory of Marie N. Harriman, 1972.9.3

Man with Pipe

Paul Cezanne · 1892/1896 · oil on canvas ·  Accession ID  1972.9.3