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MFA Images: Bouquets

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  • Large Green Vase with Mixed Flowers

    1910–12

    Odilon Redon, French, 1840–1916 French

    Description

    Although Redon worked almost exclusively in black and white until he was fifty years old, he later became a bold and original colorist. He often painted macabre and supernatural subjects, and here a conventional still-life motif appears almost otherworldly, with the vase floating in ambiguous space and the colors more brilliant than any found in nature. Pastel produces deep, radiant hues, and Redon has maximized their intensity by juxtaposing complementary colors (yellow and purple, green and red), so that the flowers fairly glow.

    Details

    Dimensions

    74.3 x 62.2 cm (29 1/4 x 24 1/2 in.)

    Medium

    Pastel on paper

    Classification

    Pastels

    Accession Number

    48.591

    Collections

    Europe , Prints and Drawings

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  • Vase of Flowers in a Niche

    about 1715

    Jan van Huysum II, Dutch, 1682–1749 Dutch

    Description

    The Dutch national passion for flowers is reflected in a strong tradition of floral paintings, a specialty that reached its peak during the eighteenth century in the work of Jan van Huysum. In this dazzling example of the artist's technical brilliance and mastery of design, each flower precisely records a living specimen, including the rare and prized hybrid striped tulip. In spite of its vivid realism, however, we know the arrangement is an imaginary one, because it combines flowers that bloom at different times of the year. The artist composed the painting using individual studies made earlier from flowers in season.

    Details

    Dimensions

    88.9 x 69.9 cm (35 x 27 1/2 in.)

    Medium

    Oil on panel

    Classification

    Paintings

    Accession Number

    89.503

    Collections

    Europe

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  • Winter Daffodils

    about 1902

    Sarah Wyman Whitman, American, 1842–1904

    Description
    Details

    Dimensions

    23.49 x 15.24 cm (9 1/4 x 6 in.)

    Medium

    Pastel on sanded paper mounted to paperboard

    Classification

    Paintings

    Accession Number

    04.1724

    Collections

    Americas

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  • Flowers on a Lacquer Plate

    1860s–1880s

    Kano Tomonobu, Japanese, 1843–1912 Japanese

    Description
    Details

    Dimensions

    Image: 25.9 x 35.4 cm (10 3/16 x 13 15/16 in.)

    Medium

    Panel; ink, color, and gold on silk

    Classification

    Paintings

    Accession Number

    11.6755

    Collections

    Asia

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  • Flowers

    Narcisse Virgile Diaz de la Peña, French, 1807–1876 French

    Description

    Diaz was a member of the Barbizon School, a group of French landscape painters who were important precursors of the Impressionists. This flower piece, one of only a few by Diaz, is painted with his characteristic vigorous brushwork and interest in generalizing individual forms into broad areas of color. The high-keyed pastel colors suggest Diaz’s early training as a porcelain decorator.

    Details

    Dimensions

    40 x 25.1 cm (15 3/4 x 9 7/8 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    24.236

    Collections

    Europe

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  • Youth and Old Age (Zinnias and Black-eyed Susans)

    1925

    Charles Demuth, American, 1883–1935

    Description
    Details

    Dimensions

    Sheet: 45.7 x 30.5 cm (18 x 12 in.)

    Medium

    Transparent and opaque watercolor over graphite pencil on paper

    Classification

    Watercolors

    Accession Number

    40.231

    Collections

    Americas , Prints and Drawings

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  • Roses in a Vase

    1872

    Henri Fantin-Latour, French, 1836–1904

    Description
    Details

    Dimensions

    35.6 x 28 cm (14 x 11 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    40.232

    Collections

    Europe

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  • Vase of Mixed Flowers

    about 1872

    Martin Johnson Heade, American, 1819–1904

    Description

    Today Heade is probably best known for his pictures of orchids [47.1164], magnolias [47.1169], water lilies [47.1165], and other flowers in which he focused on one, two, or three blooms. Painted life-size in a natural setting, their forms are often sexually suggestive. Throughout his life, however, Heade also painted more conventional flower pieces in keeping with contemporary taste. With its simple arrangement of blooms in a delicate vase set on a covered table, Vase of Mixed Flowers typifies those canvases.
    Though Heade deliberately selected flowers that allowed him to work with different shapes, textures, and colors, the arrangement does not appear contrived, and though the flowers may not be overtly erotic, Heade nonetheless recognized their expressive possibilities. Thus the rose seems to reach upwards and tentatively open its leaves outward, while the stamens shoot out from the fully open leaves of the azalea. Heade probably also chose the flowers with an eye towards their symbolism since he was well aware of the vogue in nineteenth-century America for assigning meanings to various flowers, particularly ones associated with the traits and character of women. Contemporary viewers familiar with the language of flowers might therefore have read the heliotrope and orange blossom as signs of devotion and purity and equated the rose with love. The carnation, on the other hand, conventionally signified disdain and heather indicated solitude—neither of them desirable qualities for women in that period.

    This text was adapted from Karyn Esielonis et al., Still-Life Painting in the Museum of Fine Arts, Boston, exh. cat.(Boston: Museum of Fine Arts, 1994).

    Details

    Dimensions

    43.81 x 34.29 cm (17 1/4 x 13 1/2 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.427

    Collections

    Americas

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  • White Flowers in a Bowl

    1885

    Berthe Morisot, French, 1841–1895

    Description
    Details

    Dimensions

    46 x 55 cm (18 1/8 x 21 5/8 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.581

    Collections

    Europe

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  • Flowers in a Blue Vase

    about 1910–13

    Maurice Brazil Prendergast, American (born in Canada),...

    Description
    Details

    Dimensions

    48.58 x 40.64 cm (19 1/8 x 16 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.589

    Collections

    Americas

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  • Mixed Flowers in an Earthenware Pot

    about 1869

    Pierre-Auguste Renoir, French, 1841–1919

    Description
    Details

    Dimensions

    64.8 x 54.3 cm (25 1/2 x 21 3/8 in.)

    Medium

    Oil on paperboard mounted on canvas

    Classification

    Paintings

    Accession Number

    48.592

    Collections

    Europe

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  • Roses

    1926

    Charles Demuth, American, 1883–1935

    Description
    Details

    Dimensions

    Sheet (sight): 29.2 x 42.5 cm (11 1/2 x 16 3/4 in.) Framed: 53 x 67 cm (20 7/8 x 26 3/8 in.)

    Medium

    Watercolor over graphite pencil on paper

    Classification

    Watercolors

    Accession Number

    48.766

    Collections

    Americas , Prints and Drawings

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  • Arbutus in a Shell Vase (Flowers of Hope)

    1869–70

    L. Prang & Company, Boston, American

    Description
    Details

    Dimensions

    Framed: 41.9 x 56.5 x 6 cm (16 1/2 x 22 1/4 x 2 3/8 in.) Overall: 21.6 x 36.2cm (8 1/2 x 14 1/4in.)

    Medium

    Chromolithograph

    Classification

    Prints

    Accession Number

    52.1646

    Collections

    Americas , Prints and Drawings

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  • Fruit and Flower Piece

    1848

    William Sharp, English, 1749–1824

    Description

    Fruit and Flower Piece is one of the few known paintings by William Sharp, an artist who worked primarily as a printmaker making illustrating botanical publications. Sharp emigrated from England and in the late 1830s settled in Boston where he was one of the first to experiment with color lithography. Fruit and Flower Piece reflects the aesthetic of Sharp's botanical training: each object is carefully drawn with little modeling and flat coloring, emphasizing a linear elegance rather than a painterly approach. The asymmetrical composition and landscape background are derived from seventeenth-century Dutch and Flemish still lifes.
    The flowers and fruits in this lush image hail from a variety of climates and seasons. In a gilded French porcelain vase, Sharp included morning glories, tulips, lilies, foxglove, roses, dahlias, and phlox, as well as two large clusters of grapes. The vase itself is decorated with a landscape that echoes the scene in the background. A basket to the right holds strawberries, currants, and cherries; a peach and perhaps some plums are piled in a white pressed glass dish nearby. More peaches and plums, as well as apples, an exotic pineapple, and a bunch of bananas surround these containers on the marble tabletop. Such bountiful presentations were popular with American still-life painters at this time, suggesting and prosperity abundance to a Victorian audience.

    Karen Quinn

    Details

    Dimensions

    91.44 x 73.66 cm (36 x 29 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    64.449

    Collections

    Americas

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  • Vase of Flowers

    1873

    George Cochran Lambdin, American, 1830–1896 American

    Description
    Details

    Dimensions

    40.64 x 30.48 cm (16 x 12 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    64.458

    Collections

    Americas

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  • Bunch of Flowers with Poppy and Carnation

    Unidentified artist, French, 19th century, French

    Description
    Details

    Dimensions

    Sheet: 33.5 x 25.4 cm (13 3/16 x 10 in.)

    Medium

    Hand-colored etching

    Classification

    Prints

    Accession Number

    69.114

    Collections

    Europe , Prints and Drawings

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  • Basket of Flowers including London Pride, Carnations and Ten...

    Probably published 1755

    J. June, English, about 1740–1770

    Description
    Details

    Dimensions

    Sheet: 34.9 x 24.8 cm (13 3/4 x 9 3/4 in.)

    Medium

    Handcolored etching and engraving

    Classification

    Prints

    Accession Number

    69.219

    Collections

    Europe , Prints and Drawings

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  • Upright basket of flowers

    Philippe Behagle, French, 1641–1705

    Description
    Details

    Dimensions

    Platemark: 45.6 x 36 cm (17 15/16 x 14 3/16 in.) Sheet: 54.8 x 38.4 cm (21 9/16 x 15 1/8 in.)

    Medium

    Etching and engraving handcolored

    Classification

    Prints

    Accession Number

    69.247

    Collections

    Europe , Prints and Drawings

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  • Large upright basket of two full blown tulips, anemones, Maonthly...

    After Jean-Baptiste Monnoyer, French, 1634–1699 French

    Description
    Details

    Dimensions

    Platemark: 53.5 x 43.5 cm (21 1/16 x 17 1/8 in.) Sheet: 62.5 x 48 cm (24 5/8 x 18 7/8 in.)

    Medium

    Engraving and etching, handcolored

    Classification

    Prints

    Accession Number

    69.249

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    Prints and Drawings

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  • Spanish Squil, Tulip, Sweet Pea (Plate from Lawrance,"Groups...

    1800

    Mary Lawrance, English, active 1790–1831

    Description
    Details

    Medium

    Etching, hand-colored

    Classification

    Prints

    Accession Number

    69.241

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    Prints and Drawings

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  • Bouquet of Yellow and White Roses, Hyacinths, and Narcissi

    1805

    After Jean Louis Prevost, French, about 1760 and after 1810 French

    Description
    Details

    Dimensions

    Sheet: 49 x 32 cm (19 5/16 x 12 5/8 in.)

    Medium

    Stipple engraving, printed in color and hand-colored

    Classification

    Prints

    Accession Number

    69.264

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    Prints and Drawings

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  • Bouquet of Anemones (Pl. 45, 12e Cahier of Prévost,...

    1805

    After Jean Louis Prevost, French, about 1760 and after 1810 French

    Description
    Details

    Dimensions

    Sheet: 50.2 x 33 cm (19 3/4 x 13 in.)

    Medium

    Stipple engraving, printed in color

    Classification

    Prints

    Accession Number

    69.267

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    Prints and Drawings

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  • Bouquet with Pink Roses and Blue Auriculas (Possibly a proof...

    1805

    After Jean Louis Prevost, French, about 1760 and after 1810 French

    Description
    Details

    Dimensions

    Sheet: 54 x 35 cm (21 1/4 x 13 3/4 in.)

    Medium

    Stipple engraving, hand-colored

    Classification

    Prints

    Accession Number

    69.269

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    Prints and Drawings

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  • Oreilles d'Ours-Primula auricula ( from Redouté,...

    published 1827

    After Pierre- Joseph Redouté, French, born in Flanders, 1759–1840

    Description
    Details

    Dimensions

    Platemark: 27 x 21.2 cm (10 5/8 x 8 3/8 in.) Sheet: 49.8 x 33 cm (19 5/8 x 13 in.)

    Medium

    Stipple engraving, in color and hand-colored

    Classification

    Prints

    Accession Number

    69.291

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    Prints and Drawings

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  • Still Life with Flowers, Vegetables and Pigeons

    Simone del Tintore, Italian (Lucchese), about 1630–1708

    Description

    Little is known of Tintore's life, and few works are attributed to him. His still lifes are more decorative than naturalistic, with the abundance of fruits and vegetables loosely arranged; here, they are held together by a broad serpentine curve that moves the eye from upper right to lower left.

    Details

    Dimensions

    118.74 x 88.26 cm (46 3/4 x 34 3/4 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    69.1059

    Collections

    Europe

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  • Still Life-Flowers in a Basket

    1850s

    Severin Roesen, American (born Prussia), 1816–1876 or after...

    Description

    Roesen painted about three to four hundred still lifes during his career, but little is known of his life. Evidence suggests that he trained as a porcelain painter in Germany and that he exhibited a still life at an art club in Cologne in 1847 before he fled Germany’s political turmoil in 1848. For the next nine years, he lived, exhibited, and developed a following among collectors and artists in New York. In 1857, apparently prompted by a downturn in the New York art market (the result of trouble in the city’s economy), he left for Pennsylvania, eventually settling in Williamsport in 1862. Pennsylvania offered not only a sizeable German community but also potential clients who had prospered by the booming lumber industry. It appears that Roesen remained in Williamsport until 1872. What happened to him after that remains a mystery, but reports that he returned to New York or that he died in a Philadelphia almshouse have proven unfounded.
    According to anecdotal evidence, Roesen may also have painted portraits, but only his still lifes have been identified. These works depict flowers and fruit, and combinations thereof, usually placed on a white or dark marble slab against a plain background. His training as a porcelain painter probably influenced his approach to still life, but his work is clearly an extension of the fruit and flower pieces of late-seventeenth- and early-eighteenth-century Dutch artists such as Jan van Huysum [89.503], Rachel Ruysch, and Maria van Oosterwijck. Roesen may have known these Dutch paintings at first hand or through the work of Jacob Preyer, who kept the tradition of still-life painting alive in nineteenth-century Düsseldorf.

    Roesen’s work defies a chronology. He dated only about two dozen of his paintings, and these all include similar objects. It is unlikely that Roesen painted directly from a model: it is difficult, even impossible, to replicate his arrangements with actual objects and he often combined flowers and fruits that bloomed at different times of the year. Roesen may instead have used popular prints or botanical drawings, or studies that he himself had made, as models for his arrangements. [1]

    It is unsurprising that Roesen’s work attracted buyers and many imitators, since the ground had been laid in the United States for art such as his. Dutch still lifes had been exhibited and actively collected in New York, Philadelphia, and Boston, and the precise drawing and elaborate compositions of the Düsseldorf school had shaped the taste and style of American collectors and painters. Moreover, Roesen’s images of natural abundance probably struck a chord with the growing American middle class, who might well have understood them as emblems of their own prosperity, plenitude, and well-being.

    Notes
    1. William H. Gerdts, Painters of the Humble Truth: Masterpieces of American Still Life, 1801–1939, exh. cat. (Columbia, Mo.: Philbrook Art Center and University of Missouri Press, 1981), 87–89.

    This text was adapted from Karyn Esielonis et al., Still-Life Painting in the Museum of Fine Arts, Boston, exh. cat.(Boston: Museum of Fine Arts, 1994).

    Details

    Dimensions

    76.2 x 102.23 cm (30 x 40 1/4 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    69.1228

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    Americas

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  • Basket of White Flowers and Partridge Berries

    1870–79

    Isaac Sprague, American, 1811–1895 American

    Description
    Details

    Dimensions

    Sheet: 25.2 x 30.5 cm (9 15/16 x 12 in) oval

    Medium

    Watercolor on paper

    Classification

    Watercolors

    Accession Number

    1977.226

    Collections

    Americas , Prints and Drawings

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  • Vase of Flowers

    1864

    John La Farge, American, 1835–1910

    Description

    Best known for his major projects in mural painting and stained glass [http://www.mfa.org/search/collections?artist=john%20la%20farge&objecttype=32], particularly the interior design of Trinity Church in Boston, John La Farge also painted an important series of floral still lifes in oil in the 1860s. La Farge grew up in a cosmopolitan, French-speaking household, and in 1856 he toured the museums of Europe, spending a few weeks working in Thomas Couture’s studio. He decided to become an artist in 1859 and studied with William Morris Hunt [http://www.mfa.org/search/collections?artist=Hunt,%20William%20Morris&objecttype=66] in Newport, Rhode Island. Over the next decade La Farge painted lyrical still lifes of flowers in vases, hanging wreaths, and water lilies [RES.27.93] and other flowers in their natural settings. His still lifes are poetic and generalized rather than botanically accurate, evoking a mood and expressing emotion. Through his own success and that of his pupils, as well as other artists who were influenced by his work, La Farge was largely responsible for the development of the poetic flower composition in American still-life painting.
    Vase of Flowers is one of the most ambiguous and mysterious of La Farge’s floral paintings. A vase of roses, geraniums, and other pink and red flowers is set off-center on a tabletop in a shallow space. The background may be a Japanese screen or an open window, as in many of the artist’s early still lifes. It has been suggested that the vase may be a pi t’ung, a Chinese porcelain vessel for holding the brushes of artists and calligraphers, thus accounting for its distinctive shape. Fascinated by Asian art and an early collector of Japanese prints, La Farge also had a large collection of Chinese and Japanese ceramics. In addition, his wife was the great niece of Matthew Perry, who had opened Japan to Western trade in 1854.

    La Farge’s use of a gilded panel for this painting, as well as his atypical inclusion of a calling card with the date and his signature in the lower right corner, may indicate that Vase of Flowers was painted as a demonstration piece in the hope of obtaining a commission from architect Henry Van Brunt for decorative panels. La Farge did, in fact, receive the commission and completed three of six panels intended for the dining room of a townhouse that Van Brunt was designing in Boston. La Farge, however, became ill and was forced to give up the project.

    La Farge later painted glowing still lifes of flowers in watercolor and also created floral stained glass windows. These jewel-like panels of opalescent glass, for which he received a patent in 1880, graced the mansions of such wealthy patrons as Cornelius Vanderbilt.

    This text was adapted from Elliot Bostwick Davis et al., American Painting [http://www.mfashop.com/9020398034.html], MFA Highlights (Boston: MFA Publications, 2003).

    Details

    Dimensions

    46.99 x 35.56 cm (18 1/2 x 14 in.)

    Medium

    Oil on gilded panel

    Classification

    Paintings

    Accession Number

    20.1873

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    Americas

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  • Hollyhocks in a Copper Bowl

    1872

    Gustave Courbet, French, 1819–1877

    Description
    Details

    Dimensions

    60 x 48.9 cm (23 5/8 x 19 1/4 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.530

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    Europe

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  • Roses in a Glass Vase

    1890

    Henri Fantin-Latour, French, 1836–1904

    Description
    Details

    Dimensions

    42.54 x 37.78 cm (16 3/4 x 14 7/8 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    1987.291

    Collections

    Europe

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  • Poppies in a Wine Flask

    Unidentified artist, Italian (Roman), 17th century, Italian (Roman)

    Description

    It was once believed that this still life was the work of the great seventeenth century Italian painted Caravaggio. Caravaggio’s revolutionary paintings focused on everyday people and objects, which he depicted with robust naturalism and made emphatically three-dimensional through bold contrasts of light and shadow. Only one still life is now convincingly attributed to Caravaggio, but his influence can be seen in many Italian examples.

    Details

    Dimensions

    65.1 x 56.5 cm (25 5/8 x 22 1/4 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    50.651

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  • Three White Tulips

    1912

    Charles Sheeler, American, 1883–1965 American

    Description

    Early in his career during several trips to Europe between 1904 and 1909, Sheeler became acquainted with modernism. He was particularly astonished by the paintings by Picasso, Braque, and Cézanne he saw during a visit to Michael Stein's (avant-garde writer Gertrude Stein's brother) Paris apartment. Sheeler wrote of his reaction, "They were strange pictures which no amount of description, of which I had considerable in advance, could prepare me for the shock of coming upon them for the first time…But this much was evident in spite of the bewilderment, that something profound was in the making," (Carol Troyen and Erica E. Hirshler, "Charles Sheeler: Paintings and Drawings," Boston: Museum of Fine Arts, 1987, p. 44). Over the next few years Sheeler turned away from the fluid, popular style of painting he had learned from William Merritt Chase, and began to investigate the a more classical, structured manner of painting, inspired, for the most part, by Cézanne.
    During the 1910s, Sheeler often worked in series, setting himself compositional problems with a limited number of variables and conscientiously exploring their permutations, as though he were following a deliberate program of self-education. "Three White Tulips" belongs to one such series, of which three additional examples have been located, each painted in 1912 in oil on panel and each measuring approximately fourteen by ten and one half inches. In all four pictures, Sheeler adhered to the same general formula, with only minor variations in the number of flowers, their arrangement, and the vessel that holds them. One of the pictures ("Red Tulips," Regis Collection, Minneapolis) was sent to the 1913 Armory Show, the first great show of modern art in America, and thereafter to several other exhibitions.
    "Three White Tulips" represents the series at its simplest. The flowers are centered in the panel, their blossoms spread out in an elegant chevron that appears to fan out flat across the picture surface but also to twist slightly in space. The tabletop, outlined by a heavy black line that recedes diagonally into depth, is painted in the same opalescent hues and with the same patchy and slightly clumsy brush strokes as the background, vase, blossoms, and leaves-only the thick outline and the occasional use of white for highlights separate one form from another. The pictorial issues Sheeler evidently was exploring here were those preoccupying much of the international avant-garde during this period: the reconciliation of description and decoration, of flat and illusionistic space, and of the relative utility of local and ambient color in unifying and organizing a composition. His guide in this quest was Cézanne, whose special love for casual floral subjects, use of animated, seemingly unstudied brush strokes going off in all directions (particularly in the backgrounds of his pictures), and use of heavy outlines are here emulated, if not quite mastered.
    These pictures of tulips also point to Sheeler's appreciation of similar motifs appearing on chests (see 32.274), ceramics (see 02.323), and birth and marriage certificates produced by Pennsylvania Germans in the late eighteenth and early nineteenth centuries. Sheeler knew their designs well, for as early as 1910 he spent numerous weekends exploring rural Bucks and Lancaster counties (the heart of "Pennsylvania Dutch" country). A dower chest he once owned (Christian Seltzer, "Pennsylvania German Dower Chest," 1781, Museum of Art, Pennsylvania State University), features ornamental panels of symmetrically arranged, schematically drawn tulips (a favorite motif of the Pennsylvania Germans) arrayed much as Sheeler does in "Three White Tulips." Splayed across the picture surface, they create a simple, charming arrangement. This unusual marriage of influences-the integration of revolutionary stylistic concerns and decorative patterns with roots in folk or primitive art-linked Sheeler with the most progressive artistic minds of his day. And although his technique is not fully mature here (he would soon substitute a smoother stroke and subtler color), "Three White Tulips" established a pattern for the rest of his work. Hereafter, his richest pictures would be those in which the traditional and the modern are harmoniously intertwined.

    This text was adapted by Janet Comey from Carol Troyen and Erica E. Hirshler, "Charles Sheeler: Paintings and Drawings" (Boston: Museum of Fine Arts, 1987).

    Details

    Dimensions

    34.92 x 26.67 cm (13 3/4 x 10 1/2 in.)

    Medium

    Oil on panel

    Classification

    Paintings

    Accession Number

    1990.442

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    Americas

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  • Wild Roses in an Antique Chinese Bowl

    1880

    John La Farge, American, 1835–1910

    Description
    Details

    Dimensions

    Platemark: 27.6 x 23 cm (10 7/8 x 9 1/16 in.) Sheet: 27.6 x 22.9 cm (10 7/8 x 9 in.) Framed: 49.8 x 43.8 cm (19 5/8 x 17 1/4 in.)

    Medium

    Transparent and opaque watercolor on paper

    Classification

    Watercolors

    Accession Number

    RES.27.96

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    Americas , Prints and Drawings

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  • Study of a Flowering Branch

    Jean Baptiste Robie, Belgian, 1821–1910 Belgian

    Description

    Robie began his career painting portraits of Napoleon that were sold to English tourists on their way to Waterloo, site of the French leader’s defeat. He later turned to still life, gaining a substantial reputation in Belgium, the United States, and France, where an effusive critic noted that he “reigns without rival in the domain of flowers.” Although this delicate rendering of a branch of mountain ash seems very casual, the surface is meticulously worked with barely perceptible brushstrokes and the lighting is carefully staged so that the highlighted blossoms emerge dramatically from deep background shadow.

    Details

    Dimensions

    54.61 x 34.92 cm (21 1/2 x 13 3/4 in.)

    Medium

    Oil on panel

    Classification

    Paintings

    Accession Number

    1984.169

    Collections

    Europe

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  • Bell Flower

    1870–1900

    Scowen & Co., English, Ceylon, 1860's English

    Description
    Details

    Dimensions

    Image/Sheet: 21.4 x 27.4 cm (8 7/16 x 10 13/16 in.)

    Medium

    Photograph, albumen print

    Classification

    Photographs

    Accession Number

    1983.136

    Collections

    Europe , Photography

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  • Varieties of Cherry Blossoms

    late 19th century

    Kôri, dates unknown

    Description
    Details

    Dimensions

    Image: 117.2 x 54.9 cm (46 1/8 x 21 5/8 in.)

    Medium

    Hanging scroll; ink and color on silk

    Classification

    Paintings

    Accession Number

    11.8465

    Collections

    Asia

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  • Double Cherry in Flower

    1843–47 (Tenpô 14–Kôka 4)

    Artist Utagawa Hiroshige I, Japanese, 1797–1858

    Description
    Details

    Dimensions

    Chûtanzaku; 36.8 x 13 cm (14 1/2 x 5 1/8 in.)

    Medium

    Woodblock print (nishiki-e); ink and color on paper

    Classification

    Prints

    Accession Number

    21.8052

    Collections

    Asia , Prints and Drawings

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  • Kanamono in the form of a stem of chrysanthemum, with backplate

    mid to late 19th century (before 1889)

    Description
    Details

    Dimensions

    Overall: 3.9 x 1 cm (1 9/16 x 3/8 in.)

    Medium

    Main material: gold; other metals: shibuichi plate; decorative technique: takabori

    Classification

    Arms and armor

    Accession Number

    11.5576

    Collections

    Asia

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  • Magnolias

    about 1883–1900

    Martin Johnson Heade, American, 1819–1904

    Description
    Details

    Dimensions

    60.96 x 38.1 cm (24 x 15 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    47.1157

    Collections

    Americas

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  • Cineraria

    about 1915-17

    Edna Boies Hopkins, American, 1872–1937 American

    Description
    Details

    Dimensions

    Sheet: 39 x 32.8 cm (15 3/8 x 12 15/16 in.) Block: 22.7 x 20 cm (8 15/16 x 7 7/8 in.)

    Medium

    Color woodcut

    Classification

    Prints

    Accession Number

    48.905

    Collections

    Americas , Prints and Drawings

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  • Still Life with Roses in a Glass Vase

    Samuel John Peploe, Scottish, 1871–1935 Scottish

    Description

    The Scottish painter Peploe spent a number of years in Paris, where he responded to a range of influences from contemporary avant-garde art. Although he painted figure subjects and landscapes, Peploe preferred still life to both. “There is so much,” he explained, “in mere objects, flowers, leaves, jugs, what not—colors, forms, relations—I can never see that mystery coming to an end.”

    Details

    Dimensions

    61 x 50.8 cm (24 x 20 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    48.586

    Collections

    Europe

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  • Still Life with Azaleas and Apple Blossoms

    1878

    Charles Caryl Coleman, American, 1840–1928

    Description

    Charles Caryl Coleman’s Still Life with Azaleas and Apple Blossoms demonstrates the influence of the Aesthetic movement on American painting and decorative arts. The movement originated in Britain in the 1870s and 1880s as a reaction against the Industrial Revolution and mass production. It was characterized by a belief in the spiritual and moral power of beauty and by a desire to improve the quality of everyday life through handsome and well-made furnishings and decoration. Like John La Farge [20.1873], Thomas Wilmer Dewing [34.131], James Abbott McNeill Whistler [42.302], and other exponents of the Aesthetic movement, Coleman strove for beauty in the line, color, and arrangement of the objects in his painting. The overall patterning of his composition, his incorporation of exotic traditions, and the manner in which he planned his painting to harmonize with the room around it demonstrate Coleman’s sympathy with the movement.
    An expatriate who lived in Italy for more than fifty years, Coleman was renowned for his beautiful studio in Rome, where he lived until the mid-1880s, and his Villa Narcissus in Capri, where he stayed for the remainder of his life. Both were sumptuously decorated with tapestries, classical antiquities, and ornamental objects from various cultures. The English painter Walter Crane described Coleman’s Roman studio as “the most gorgeous studio of bric-a-brac of any.”[1]Coleman’s interest in the decorative is nowhere more apparent than in the series of large-scale still-life panels he painted in the late 1870s and 1880s.

    In his still-life paintings, Coleman often mixed objects from many cultures: Persian fabrics, Turkish carpets, Venetian vases, Japanese fans, many from his own collection. In Still Life with Azaleas and Apple Blossoms, however, he was inspired both in his composition and his choice of objects by the contemporary fashion for Japanese art. Coleman chose a tall, narrow canvas to suggest a Japanese hanging scroll or the panel of a screen. His apple blossoms in a yellow vase intertwine with azaleas in a lustrous Japanese bronze repoussé pot, against a background of kimono fabric. Even Coleman’s initials in monogram in the lower right and the inscriptions “1878” and “Roma” in the gold leaf rectangular cartouches on the lower left recall the seals often found on Japanese scrolls.

    Like Whistler, whose famous Peacock Room of 1876–77 (Freer Gallery of Art, Washington, D.C.) epitomized Aestheticism, Coleman thought of his composition as an integral part of the decorative scheme for an entire room. This intention is clear from a sketch on the stretcher (the wooden framework supporting the canvas) indicating the position of this painting on a wall and an accompanying penciled note that reads: “From Drawing Room facing fire, right of glass.” He was evidently pleased with Still Life with Azaleas and Apple Blossoms, for he made a near copy in 1879 (De Young Museum, Fine Arts Museums of San Francisco).

    Notes
    1. Walter Crane, An Artist’s Reminiscences (London: Methuen & Co., 1907), 129.

    This text was adapted from Elliot Bostwick Davis et al., American Painting [http://www.mfashop.com/9020398034.html], MFA Highlights (Boston: MFA Publications, 2003).

    Details

    Dimensions

    180.3 x 62.9 cm (71 x 24.75 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    2001.255

    Collections

    Americas

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  • Still Life—Flowers

    1920s

    Abraham Walkowitz, American (born in Russia), 1878–1965

    Description
    Details

    Dimensions

    46.35 x 38.42 cm (18 1/4 x 15 1/8 in.)

    Medium

    Oil on paper

    Classification

    Paintings

    Accession Number

    40.622

    Collections

    Americas

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  • Red Poppies

    1953

    Max Weber, American (born in Russia), 1881–1961

    Description
    Details

    Dimensions

    68.58 x 48.58 cm (27 x 19 1/8 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    1990.453

    Collections

    Americas

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  • My Mother's Hats

    1943

    Loïs Mailou Jones, American, 1905–1998

    Description

    Jones studied at the School of the Museum of Fine Arts, Boston and her earliest works are designs for textiles and costumes. In the 1930s, she turned to painting, continuing her studies in Paris. She taught at Howard University from 1930 to 1977 and in 1973 she was the first African-American woman to be given a one-person show at the MFA. This painting, which depicts three elaborate hats designed by Jones's milliner mother, is typical of her richly colored and freely-brushed style of the 1940s.

    Details

    Dimensions

    45.7 x 53.3 cm (18 x 21 in.)

    Medium

    Oil on canvas

    Classification

    Paintings

    Accession Number

    2005.215

    Collections

    Americas

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  • Floral Study (Poppies?)

    Antoine Berjon, French, 1754–1843

    Description
    Details

    Dimensions

    Sheet: 44 x 30.5 cm (17 5/16 x 12 in.)

    Medium

    Black, white, and red chalk on blue laid paper

    Classification

    Drawings

    Accession Number

    31.1488

    Collections

    Europe , Prints and Drawings

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  • Petunia Planes

    1952 (block cut 1952)

    Blanche Lazzell, American, 1878–1956 American

    Description
    Details

    Dimensions

    Image: 30.5 x 35.6 cm (12 x 14 in.)

    Medium

    Color woodcut

    Classification

    Prints

    Accession Number

    53.138

    Collections

    Americas , Prints and Drawings

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  • The White Petunia

    printed 1932, block cut 1932

    Blanche Lazzell, American, 1878–1956 American

    Description
    Details

    Dimensions

    Image: 35.6 x 30.5 cm (14 x 12 in.)

    Medium

    Color woodcut

    Classification

    Prints

    Accession Number

    57.98

    Collections

    Americas , Prints and Drawings

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  • Cactus and Tropical Foliage

    about 1919–22

    Joseph Stella, American, 1877–1946 American

    Description
    Details

    Dimensions

    Sheet: 46.4 x 61.3cm (18 1/4 x 24 1/8 in.) Framed: 66 x 80 cm (26 x 31 1/2 in.)

    Medium

    Watercolor over graphite pencil on paper

    Classification

    Watercolors

    Accession Number

    1984.412

    Collections

    Americas , Prints and Drawings

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  • Still-Life with Six Sunflowers

    1998

    Linda Etcoff, American, born in 1952 American

    Description
    Details

    Dimensions

    Overall: 102.9 x 66cm (40 1/2 x 26 in.) Framed: 111.8 x 73 cm (44 x 28 3/4 in.)

    Medium

    Charcoal and pastel on paper

    Classification

    Drawings

    Accession Number

    1999.54

    Collections

    Americas , Contemporary Art , Prints and Drawings

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  • The Violet Jug

    1926 (block cut 1919)

    Artist Blanche Lazzell, American, 1878–1956 American

    Description
    Details

    Dimensions

    Image: 29.2 x 29.2 cm (11.5 x 11.5 in.)

    Medium

    Color woodcut

    Classification

    Prints

    Accession Number

    2001.877

    Collections

    Americas , Prints and Drawings

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Contents