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About This Artwork
Flower Girl in Holland, 1887
Oil on canvas
79.1 × 147.3 cm (31 1/8 × 58 in.)
Signed, lower left: "Geo. Hitchcock op. XXXV 1-8-8-7"
Potter Palmer Collection, 1888.169
Not on Display
An expatriate American who settled in Egmond, Holland around 1883, George Hitchcock was influenced by his Dutch surroundings as well as strains of late-nineteenth-century Continental painting. In this work, he combined an Impressionist palette with the pronounced perspective, hard-edged details, and rural subject matter that characterized academic Realist painting of the period, demonstrating his debt to both styles. Hitchcock painted many scenes of peasant women in tulip fields, often imbuing them with ethereal, Madonna-like qualities.
Chicago, Sixteenth Annual Inter-State Industrial Exposition, Sept. 5-Oct. 20, 1888, cat. 203, as Flower Seller, Holland.
Art Institute of Chicago, Exhibition of Paintings in the New Galleries, Apr. 5, 1890, cat. 14.
Art Institute of Chicago, IRoom XIII, Collection of Paintings from Various Sources, Aug. 1890, cat. 2.
Art Association of Richmond, Indiana, Ninth Annual Exhibition of the Art Association of Richmond, Indiana, June 6-20, 1905, cat. 50, as Flower Girl in Holland.
Renaissance Society of the University of Chicago, Paintings by Famous Victorian Painters, Nov. 7-Dec. 3, 1938, as Holland Flower Girl.
Evanston, Ill., Scott Hall, Northwestern University, Mar. 18-Apr. 2, 1954.
Springfield, Illinois State Museum, Nineteenth Century American Paintings: A Collection of the Chicago Art Institute, Mar. 5-Apr. 24, 1966, as Flower Girl in Holland; traveled to Davenport Municipal Art Gallery, Iowa, May 19-June 5, 1966, Muscatine, Iowa, Laura Musser Art Gallery and Museum, July 24-Oct. 2, 1966, Peoria, Ill., Lakeview Center for the Art and Sciences, Nov. 30-Jan. 8, 1967.
Detroit Institute of Arts, The Quest for Unity: American Art Between World’s Fairs 1876-1893, Aug. 22-Oct. 30, 1983, cat. 145, as Flower Girl in Holland.
George Hitchcock, “The Picturesque Quality of Holland,” Scribner’s Magazine (August 1887), pp. 160-68.
George Hitchcock, “The Picturesque Quality of Holland: Interiors and Bric-a-Brac,” Scribner’s Magazine 5, 2 (Feb. 1889), pp. 162-71.
Art Institute of Chicago Annual Report, 1889 (Art Institute of Chicago, 1889), p. 26.
“George Hitchcock,” Art Amateur 22 (Feb. 1890), pp. 54-56.
Lionel G. Robinson, “Mr. George Hitchcock and American Art,” Art Journal (London) (Oct. 1891), p. 289-95.
Lionel G. Robinson, “The Picturesque Quality of Holland: Figures and Costumes,” Scribner’s Magazine 10, 5 (Nov. 1891), pp. 621-29.
Rilla Jackman, American Arts (Rand McNally and Company, 1892), pl LII.
Helene L. Postlethwaite, “Some Rising Artists,” Magazine of Art 17 (1893-1894), pp. 113-18.
“Modern Paintings,” Art Amateur 32 (Dec. 1894), p. 19.
Charles Francis Browne, “The Permanent Collection in the Museum of the Art Institute of Chicago.” Brush and Pencil 2 (Sept. 1898), pp. 252-61, no. 237.
Florence Levy, ed., American Art Annual (MacMillan and Company, 1898), p. 141 (ill.).
Arthur Fish, “George Hitchock: Painter,” Magazine of Art 21 (1898), pp. 577-83.
“Around the Studios,” American Art News 3 (Feb. 18, 1905), p. 5.
Christian Brinton, “George Hitchcock—Painter of Sunlight,” International Studio 24 (July 1905), pp. i-vi.
Bulletin of The Art Institute of Chicago 3 (Jan. 1911), p. 33.
James William Pattison, “The Art of George Hitchcock and Cecil Jay,” Fine Arts Journal 25 (Feb. 1911), p. 72-83.
Charles Henry Meltzer, “A Painter of Sunlight,” Hearst’s Magazine 12 (July 1912), pp. 131-34.
Guy Pene du Bois, “George Hitchock, Painter of Holland,” Arts and Decoration 3 (Oct. 1913), pp. 401-04.
Peyton Boswell, “The George Hitchcock Memorial Exhibition to be held at a New York Gallery,” Arts and Decoration 14 (Feb. 1921), p. 297.
“Current Notes and Comments: ‘The Flower Seller,’ by George Hitchcock,” Art and Archaeology 11 (Mar. 1921), pp. 113-17.
Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961).
Michael Quick, American Expatriate Painters of the Late Nineteenth Century, exh. cat., (Dayton Art Institute, 1976).
Janice Oresman, “Gari Melchers’ Portraits of Mrs. George Hitchcock,” Archives of American Art Journal 20, 3 (1980), pp. 19-24.
The Hague School and its American Legacy, exh. cat., (Federal Reserve, 1982).
Annette Stott, American Painters Who Worked in the Netherlands, 1880-1914 (Ph.D. Diss., Boston University, 1986), no. 428.
Annette Stott, “Dutch Utopia: Paintings by Antimodern American Artists of the Nineteenth Century,” Smithsonian Studies in American Art (Spring 1989), pp. 47-61.
Judith A. Barter et al., American Arts at The Art Institute of Chicago: From Colonial Times to World War I (Art Institute of Chicago, 1998).
Judith A. Barter et al, The Age of American Impressionism: Masterpieces from the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2011), no. 50.
George Hitchcock, Egmond-aan-Zee, Holland, 1887; Mr. and Mrs. Potter Palmer, Chicago, by 1888; given to The Art Institute of Chicago, 1888.