About This Artwork

Paul Gauguin
French, 1848-1903

Te burao (The Hibiscus Tree), 1892

Oil on cotton canvas
68 x 90.7 cm (26 3/4 x 35 11/16 in.)

Joseph Winterbotham Collection, 1923.308

Exhibition, Publication and Ownership Histories

Exhibition History

New York, Metropolitan Museum of Art, Loan Exhibition of Impressionist and Post-Impressionist Paintings, May 3–September 15, 1921, cat. 50.

Minneapolis Institute of Arts, An Exhibition of Modern French Paintings, November 1921, cat. 9.

Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1–November 1, 1933, cat. 356.

San Francisco, The California Palace of the Legion of Honor, Exhibition of French Painting from the Fifteenth Century to the Present Day, June 8–July 8, 1934, cat. 103.

Des Moines Art Center, 19th and 20th Century European and American Art, June–July 1948, cat. 39.

Lowe Art Gallery, The University of Miami, 19th and 20th Century French Painting, March 15–April 9, 1952, cat. 13; travelled to Athens, The University of Georgia, April 14–May 19, 1952.

Art Institute of Chicago, Gauguin: Paintings, Drawings, Prints, Sculpture, February 12–March 29, 1959, cat. 43; travelled to New York, Metropolitan Museum of Art, April 21–May 31, 1959.

Richmond, The Virginia Museum of Fine Arts, The Anniversary Loan Exhibition: Treasures in America, January 13–March 5, 1961, no cat. no.

Art Institute of Chicago, The Artist Looks at the Landscape, June 22–August 25, 1974, no cat.

New York, Metropolitan Museum of Art, Van Gogh in Arles, October 3–December 30, 1984, no cat. no.

Tokyo, Seibu Museum of Art, Shikago Bijutsukan Insho-ha ten (The Impressionist Tradition: Masterpieces from The Art Institute of Chicago), October 18–December 17, 1985, cat. 55; traveled to Fukuoka, Fukuoka Art Museum, January 5–February 2, 1986; Kyoto, Kyoto Municipal Museum of Art, March 4–April 13, 1986.

Leningrad [St. Petersburg], Hermitage, Ot Delakrua do Matissa: shedevry frantsuzskoĭ zhivopici XIX-nachala XX veka, iz Muieìa Metropoliten v Nìu-Ĭorke i Khudozhestvennogo Instituta v Chikago [From Delacroix to Matisse: Great French Paintings From the XIX Century to the Beginning of the XXth Century from the Metropolitan Museum of Art in New York and the Art Institute of Chicago], March 15–May 16, 1988, cat. 45; traveled to Moscow, Pushkin Museum of Fine Arts, May 30–July 30, 1988.

Washington D.C., National Gallery of Art, The Art of Paul Gauguin, May 1–July 31, 1988; traveled to Art Institute of Chicago, September 17–December 11, 1988; Paris, Grand Palais, January 10–April 20, 1989 (Chicago only, supplement no. 5).

Niigata Kenritsu Kindai Bijutsukan, Shikago Bijutsukan ten : kindai kaiga no 100-nen (Masterworks of Modern Art from The Art Institute of Chicago), April 20–May 29, 1994, cat. 16; travelled to Aichi Prefectural Museum of Art, June 10–July 24, 1994; Yokohama Museum of Art, August 6–September 25, 1994.

Art Institute of Chicago, Van Gogh and Gauguin: The Studio of the South, September 22, 2001–January 13, 2002, cat. 140; travelled to Amsterdam, The Van Gogh Museum, February 2–June 9, 2002.

Publication History

“An Exhibition of Modern French Paintings,” Bulletin of the Minneapolis Institute of Arts 10, 8 (November 1921), p. 59 (ill.).

“El Greco Painting, $9,000: ‘St. John the Baptist’ leads Auction of the de Zayas Collection,” New York Times (March 24, 1923), p. 13.

“Home and Foreign Art Notes,” New York Times (April 29, 1923), p. X10.

Eleanor Jewett, “Architectural Exhibit Opening at the Institute,” Chicago Daily Tribune (April 29, 1923), p. D6.

J. MacD., “Gauguin’s ‘Te Burao’,” Bulletin of the Art Institute of Chicago 17, 5 (May 1923), pp. 51–52.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1925), pp. 71 (ill.), 137, no. 624.

R. M. Fischkin, “A Late Gauguin,” Bulletin of the Art Institute of Chicago 21, 6 (1927), pp. 74–75.

R. M. Fischkin, “Gauguin Given to Art Institute,” Art News 25, 40 (1927), p. 7.

Reginald H. Wilenski, French Painting (Boston: Hale, Cushman & Flint, Inc., 1931), p. 289; reprinted (Boston, Hale, Cushman & Flint, Inc., 1936); (New York: Dover Publications, 1973).

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), pp. 72 (ill.), 154.

“Chicago Show to Present French Modern Masters,” Art News 31, 34 (May 1933), p. 4.

Paul Gauguin, Lettres de Gauguin à Daniel de Monfreid (Paris: George Falaize, 1950), p. 211.

John Rewald, Post Impressionism: From Van Gogh to Gauguin (New York: Museum of Modern Art, 1956), p. 510 (ill.); revised editions (New York: Museum of Modern Art, 1962); (New York: Museum of Modern Art, 1978); translated (Cologne: Du Mont, 1987).

Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 170.

Georges Wildenstein, Gauguin (Paris: Les Beaux-Arts, 1964), pp. 196–97, no. 486 (ill.).

Bengt Danielsson, “Gauguin’s Tahitian Titles,” Burlington Magazine 109, 769 (1967), p. 232.

G. M. Sugana, L’opera completa di Gauguin (Milan: Rizzoli, 1972), pp. 104–05, no. 306 (ill.).

Art Institute of Chicago, The Joseph Winterbotham Collection: A Living Tradition (Chicago, Art Institute of Chicago, 1986), pp. 10, 18 (ill.), 57.

Marla Prather and Charles F. Stuckey, eds., Gauguin: A Retrospective (New York: Hugh Lauter Levin, 1987), p. 181 (ill.).

Michel Hoog, Paul Gauguin: Life and Work (New York: Rizzoli, 1987), p. 181, fig. 125.

Françoise Cachin, Gauguin (Paris: Flammarion, 1988), p. 296; translated (Paris: Flammarion, 1990).

James Wood, “Foreword” Art Institute of Chicago Museum Studies 20, 2 (1994), p. 100.

Lyn Delliquadri, “A Living Tradition: The Winterbothams and Their Legacy,” Art Institute of Chicago Museum Studies 20, 2 (1994), pp. 105, 110 n. 11.

Margherita Andreotti, “The Joseph Winterbotham Collection,” Art Institute of Chicago Museum Studies 20, 2 (1994), pp. 130–31 (ill.).

Sophia Shaw Pettus, “Checklist of the Joseph Winterbotham Collection, 1921–1994,” Art Institute of Chicago Museum Studies 20, 2 (1994), p. 183 (ill.).

Inge Fiedler and Michael Bayard, “Emerald Green and Scheele’s Green”, in Elisabeth West FitzHugh, ed., Artist’s Pigments: A Handbook of their History and Characteristics, vol. 3 (Washington, D.C.: National Gallery of Art, 1997), p. 263.

Art Institute of Chicago, Highlights of the Exhibition: Van Gogh and Gauguin: The Studio of the South, supplement to exh. cat. (Chicago: Art Institute of Chicago, 2001), p. 69, fig. 49.

Britt Salvesen, Gauguin (Chicago: Art Institute of Chicago and New York: Harry N. Abrams, Inc., 2001), pp. 27 (detail ill.), 43–44, 108, no. 11, pl. 11.

Douglas W. Druick and Peter Kort Zegers, “The Studio of the Tropics,” in Van Gogh and Gauguin: The Studio of the South, exh. cat. (Chicago: Art Institute of Chicago and New York: Thames & Hudson, 2001), p. 337, fig. 7.

Susan Alyson Stein, “From the Beginning: Collecting and Exhibiting Gauguin in New York,” in Colta Ives and Susan Alyson Stein, The Lure of the Exotic: Gauguin in New York Collections (New York: Metropolitan Museum of Art, 2002), pp. 168, 230 n. 84.

Ownership History

Marius de Zayas, New York; sold his sale, The Anderson Galleries, New York, March 23–24, 1923, lot 83 for $3,000 to the Art Institute [price according to an annotated copy of the sale catalogue in the Ryerson Library, Art Institute]; purchased by the Art Institute with funds provided by Joseph Winterbotham for the Joseph Winterbotham Collection, 1923.




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