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About This Artwork
Woman in front of a Still Life by Cézanne, 1890
Oil on linen canvas
65.3 x 54.9 cm (25 11/16 x 21 5/8 in.)
Inscribed 6" above right corner: P. Go. / 90
Joseph Winterbotham Collection, 1925.753
European Painting and Sculpture
Not on Display
In this work, an unidentified woman sits in front of Paul Cézanne’s 1879–80 Still Life with Fruit Dish, now at the Museum of Modern Art, New York. The painting was part of Paul Gauguin’s own collection, and here he proprietarily signed his name over its white frame. Of the five or six Cézannes that he acquired while still a banker, this was the one he claimed he would never part with, “except in a case of direst necessity.” (He would eventually sell it to pay for medical treatment in Tahiti.) Although the version in this painting is nearly to scale with the original, it is more a translation than a copy, with rhythmical arabesques that are characteristic of Gauguin’s painting style rather than Cézanne’s.
— Permanent collection label
London, Stafford Gallery, Exhibition of Pictures by Paul Cezanne (1839-1906) and Paul Gauguin (1848-1903), November 23 and after, 1911, cat. 21, as Portrait of a Girl.
London, The Leicester Galleries, Exhibition of Works by Paul Gauguin (1848-1903), July-August, 1924, cat. 45, as L’Arlésienne.
The Art Institute of Chicago, Century of Progress: Exhibition of Paintings and Sculpture, June 1-November 1, 1933, cat. 358, as Mlle. Marie Henry.
The Art Institute of Chicago, Century of Progress: Exhibition of Paintings and Sculpture, June 1-November 1, 1934, cat. 303 (pl. XLIX), as Mlle. Marie Henry.
New York, Wildenstein & Co., Great Portraits from Impressionism to Modernism: A Loan Exhibition form the Benefit of the Public Education Association, March 1-March 29, 1938, cat. 17 (pl. IV), as Mlle. Marie Henry.
The Baltimore Museum of Art, Modern Paintings, Isms and How They Grew, January 12-February 11, 1940, no cat.
Museum of Fine Arts of Houston, Paul Gauguin: His Place in the Meeting of East and West, March 27-April 25, 1954, cat. 18 (ill.), as Portrait of a Woman, Marie Henry.
Edinburgh, The Royal Scotish Academy, An Exhibition of Paintings, Engravings and Sculpture: Gauguin, 1955, cat. 35 (pl. XII), as Portrait of Marie Henry.
The Art Institute of Chicago and New York, The Metropolitan Museum of Art, Gauguin,: Paintings, Drawings, Prints, Sculpture, February 12-March 29, 1959 and April 21-May 31, 1959, cat. 24 (ill.), as Marie Derrien.
San Francisco, California Palace of Legion of Honor, M. H. de Young Memorial Museum, and The San Francisco Museum of Art, Man, Glory, Jest, and Riddle: A Survey of the Human Form through the Ages, November 10, 1964-January 3, 1965, cat. 182, as Portrait of Marie Derrien.
London, Tate Gallery, Gauguin and the Pont Aven Group, January 7-February 13, 1966, cat. 33 (pl. 23b), as Portrait of Marie Derrien, traveled to Zürich, Kunsthaus, Pont Aven: Gauguin und sein Kreis, March 5-April 11, 1966, cat. 30 (ill.).
New York, Wildenstein and Co., Faces from the World of Impressionism and Post-Impressionism: A Loan Exhibition for the benefit of The New York Chapter of The Arthritis Foundation, November 2-December 9, 1972, cat. 30 (ill.), as Marie Derrien.
The Art Institute of Chicago, European Portraits 1600 – 1900 in The Art Institute of Chicago, July 8-September 11, 1978, cat. 21 (ill.).
The Art Institute of Chicago, The Art of the Edge: European Frames 1300-1900, October 17-December 14, 1986, not included in cat.
Washington, National Gallery of Art, The Art Institute of Chicago and Paris, Galeries nationales du Grand Palais, The Art of Gauguin, May 1-July 31, 1988, September 17-December 11, 1988, and January 10-April 24, 1989, cat. 111 (ill.).
The Art Institute of Chicago, Van Gogh and Gauguin: The Studio of the South, The Art Institute of Chicago, September 22, 2001-January 13, 2002, traveled to The Van Gogh Museum, Amsterdam, February 9-June 6, 2002, cat. 129 (ill.).
Essen, Museum Folkwang, Cézanne and the Dawn of Modern Art, September 18, 2004-January 16, 2005, no cat. no., ill. p. 24.
Fort Worth, Tex., Kimbell Museum of Art, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–November 2, 2008, cat. 65 (ill.).
The Art Institute of Chicago, The Art Institute of Chicago Forty-Seventh Annual Report 1925 (Chicago: The Art Institute of Chicago, 1925), pp. 14, 39 (ill.).
“A Portrait of Gauguin,” The Bulletin of The Art Institute of Chicago 20, 1 (January 1926), p. 2 (ill.).
“Art Institute Buys a Gauguin Portrait,” The Art News 24, 18 (February 6, 1926), p. 4.
Arsène Alexandre, Paul Gauguin: Sa vie et le sens de son oeuvre (Paris, 1930), p. 29 (ill.).
The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), pp. 71 (ill.), 72, 154.
“The Rearrangement of the Painting Galleries,” The Bulletin of The Art Institute of Chicago 27, 7 (December 1933), p. 116.
Charles Kunstler, Gauguin, peintre maudit: anciens et modernes (Paris, 1934), p. 47 (ill.).
The Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1935), p. 31.
Paul Gauguin, Paul Gauguin’s Intimate Journals (New York, 1936), p. 253 (ill.).
John Rewald, Gauguin (New York, 1938), p. 52 (ill.).
The Art Institute of Chicago, A Brief Illustrated Guide to the Collections (Chicago, 1941), p. 37.
S. Rocheblave, La Peinture française au XIXe siècle (Paris, 1941), pl. 87.
The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1945), p. 40.
The Art Institute of Chicago, The Winterbotham Collection (Chicago, 1947), pp. 21 (ill.), 22.
The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1948), p. 36.
Maurice Malingue, Gauguin: Le Peintre et son oeuvre (Paris, 1948), ill. 153.
Herbert Lee van Dowski, Paul Gauguin oder die Flucht vor der Zivilisation (Bern, 1950), cat. 205.
Charles Estienne, Gauguin (Lausanne, 1953), p. 50 (ill.), 51.
Henri Dorra, “Gauguin and His Century,” Art Digest 28, 12 (March 15, 1954), p. 13 (ill.).
René Huyghe, Gauguin, 1954, pl. 13.
John Rewald, Post-Impressionism (New York, 1954), p. 309 (ill.).
Bernard Dorival and Agnès Humbert, Bonnard, Vuillard et les Nabis (1888-1903), exh. cat. (Paris, Musée National d’Art Moderne, 1955), under cat. 6.
John O’Connel Kerr, “Paul Gauguin: Creative Iconoclast,” The Studio 150, 753 (December 1955), pp. 172 (ill.).
The Art Institute of Chicago, An Illustrated Guide to the Collections of The Art Institute of Chicago (Chicago, 1956), p. 37.
John Rewald, Post-Impressionism: From Van Gogh to Gauguin (New York, 1956), pp. 308,309 (ill.).
Robert Goldwater, Paul Gauguin (New York, 1957), pp. 94, 95 (ill.).
Ernest W. Watson, “Borrowings of the Masters,” American Artists 24, 2 (February 1960), p. 39.
The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 170, 332 (ill.).
Georges Wildenstein, Gauguin (Paris, 1964), no. 387 (ill.).
Keith Roberts, “Current and Forthcoming Exhibitions,” Burlington Magazine 108, 755 (February 1966), pp. 105.
André Chastel, “Le Tableau dans le tableau,” Stil und Überlieferung in der Kunst des Abendlandes: Akten des 21. Internatioanlen Kongresses für Kunstgeschichte in Bonn 1964 (Berlin, 1967), pp. 26-27.
Richard W. Murphy and the Editors of Time-Life Books, The World of Cézanne 1839-1906 (New York, 1968), pp. 176, 177(ill.).
Mark Roskill, Van Gogh, Gauguin, and the Impressionist Circle (Greenwich, Conn., 1970), pp. 46-47, 54, pl. IV, ill. 29.
Mark Roskill, Van Gogh, Gauguin and French Painting of the 1880s: A Catalogue Raisonné of Key Works (Ann Arbor: University Microfilms, 1970), pp. 196-197.
Wladyslawa Jaworska, Gauguin and the Pont-Aven School (London, 1972), p. 24 (ill.).
G. M. Sugana, L’opera completa di Gauguin (Milan, 1972), cat. 223 (ill.)
Herbert Lee van Dowski, Die Wahrheit über Gauguin: Mit vielen, zum Teil farbigen Abbildungen und einem “Katalog der Gemälde” (Darmstadt, 1973), p. 141 (ill.), cat. 205.
John Rewald, The History of Impressionism (New York, 1973), p. 561 (ill.).
René Huyghe, La Relève du Réel Impressionnisme Symbolisme (Paris, 1974), p. 345, ill. 299.
Daniel Wildenstein and Raymond Cogniat, Gauguin (Garden City, New York, 1974), pp. 48, 49 (ill.).
John Rewald, Post-Impressionism from Van Gogh to Gauguin (New York, 1978), pp. 270-271, 275, 286, 287 (ill.).
Patrice J. Marandel, The Art Institute of Chicago: Favorite Impressionist Paintings (New York, 1979), pp. 80, 81 (ill.).
Susan Wise, Paul Gauguin: His Life and His Paintings (Chicago, 1980), no. 10, ill.
Richard R. Brettell, Post-Impressionists (Chicago and New York, 1987), pp. 28 (ill.), 29-30, 31 (ill.).
Marina Aleksndrovna Bessonova, Gogen: Vzgliad iz Rossii: album-katalog (Moskwa, 1989), pp. 136 (ill. 19), 137.
Mary Louise Krumrine, Paul Cézanne: The Bathers, exh. cat. (Basel: Museum of Fine Arts, 1989), p. 285, 287 (ill.).
Michel Howard, Cezanne (London, 1990), p. 20 (ill.).
Richard Verdi, Cézanne (London, 1992), pp. 206, 208 (ill. 181).
The Art Institute of Chicago, The Joseph Winterbotham Collection at The Art Institute of Chicago, The Art Institute of Chicago Museum Studies 20, 2 (Chicago: The Art Institute of Chicago, 1994), pp. 128, 129 (ill.).
The Age of Impressionism at the Art Institute of Chicago (New Haven and London, 2008), cat. 65, p. 138 (ill.).
Joseph J. Rishel, “Arcadia 1900,” Gauguin, Cézanne, Matisse: Visions of Arcadia Exh. cat (Philadelphia Museum of Art, 2012), p. 6, p. 43, fig. 6.
Bernheim-Jeune Galerie, Paris [according to Wildenstein 1964]. Ernest Brown and Phillips, Leicester Galleries, London by 1924 [see London 1924 and Wildenstein 1964]. Chester H. Johnson Gallery, Chicago, by 1925; sold to the Art Institute, 1925.