Landscape: Window Overlooking the Woods

1899

Édouard Vuillard (French, 1868-1940)

Status: On View, Gallery 244
Department: Painting and Sculpture of Europe

Artist: Édouard Jean Vuillard
Title: Landscape: Window Overlooking the Woods
Place: France (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1899
Medium: Oil on canvas
Inscriptions: Inscribed lower right: E. Vuillard 99
Dimensions: 249.2 × 378.5 cm (96 1/8 × 149 in.); Framed: 259.4 × 392.5 cm (102 1/8 × 154 1/2 in.)
Credit Line: L.L. and A.S. Coburn Fund, Martha E. Leverone, Charles Norton Owen funds, and purchased with funds provided by an anonymous donor
Reference Number: 1981.77
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/109926/manifest.json

Fritz von Ostini, “Die Frühjahrsausstellung der Münchener Secession,” Die Kunst 17 (1907-1908), p. 350 (ill.).
Achille Segard, Peintres d’aujourd’hui: les décorateurs vol. 2, Paris, Paul Ollendorff, 1914, pp. 253, 258-266, 321.
Claude Roger-Marx, Vuillard et son temps, Paris, Éd. des arts et métiers graphiques, 1946, pp. 138-139.
André Chastel, Vuillard, Paris, Floury, 1946, pp. 53, 115.
Claude Roger-Marx, Vuillard, Paris, Éd. des arts et métiers graphiques, pp. 15, 43, fig. 25.
Jacques Salomon, Auprès de Vuillard, Paris, La Palme, 1953, p. 36.
Annette Vaillant, “Livret de Famille ,” L’Oeil, December 1956, pp. 25, 30.
Jacques Hillairet, Dictionnaire historique des rues de Paris, Paris, Les éditions de minuit, 1963, pp. 159, 157.
Roseline Bacou, “Décors d’appartements au temps des Nabis,” Art de France 4, 1964, p. 196.
James Dugdale, “Vuillard, the decorator-I. First Phase: the 1890’s,” Apollo, February 1965, p. 99.
Félix Fénéon, Oeuvres plus que complétes vol. 1, Geneve, Droz, 1970, p. 261.
Annette Vaillant, Le Pain Polka, Paris, Mercure de France, 1974, pp. 41, 42, 141.
Grace Glueck, “Suit Alleges John Samuels Sold Paintings Included in Collateral,” New York Times, March 16, 1981.
Art Institute of Chicago Annual report 1980-81, pp. 15-16, fig. 17.
Richard R. Brettell, “Landscape by Édouard Vuillard is Major Addition to Nineteenth Century French Collection,” Bulletin of the Art Institute of Chicago 75, no. 4, October-December 1981, pp. 7-8.
Art News 81, no. 5, May 1982, p. 96.
Anne Georges, Symbolisme et décor, Vuillard, 1888-1905, doctorate diss., Paris I, 1982, pp. 111-112.
“French Paintings Acquired by the Art Institute of Chicago,” The Burlington Magazine 126, 976, July 1984, p. 465 (ill.).
The Impressionist Tradition: Masterpieces from the Art Institute of Chicago, exh. cat., Tokyo, Seibu Museum of Art, 1986, p. 20.
Juliet Wilson Bareau, “Édouard Vuillard et les princes Bibesco,” Revue de L’Art 74, 1986, pp. 39, 46.
Richard Brettell, Post-Impressionists,Chicago, The Art Institute of Chicago, 1987, pp. 83 (ill.), 119.
Belinda Thompson, Vuillard, Oxford, Phaidon Press, 1988, p. 49, fig. 37.
Jeanine Warnod, Vuillard, Paris, Flammarion, 1988, pp. 37, 54-55.
Claire Frèches-Thory and Antoine Terrasse, Les Nabis, Paris, Flammarion, 1990, pp. 146-150.
Gloria Groom, “Landscape as Decoration: Edouard Vuillard’s Ile-de-France Paintings for Adam Natanson,” The Art Institute of Chicago Museum Studies 16, 2, Chicago, 1990, pp. 147-165, 180-182.
Georges Bernier, La Revue blanche, Paris, Hazan, 1991, pp. 296-299.
Gloria Groom, Edouard Vuillard: Painter-Decorator (New Haven and London, 1993), pp. 123-34., ill. 197.
Roger Benjamin, “The Decorative Landscape, Fauvism, and the Arabesque of Observation,” Art Bulletin, 75, no. 2, June 1993, pp. 298-301.
Guy Cogeval, Vuillard. Le temps détourné, Découvertes (ser.) no. 178, Paris, Gallimard and RMN, 1993, pp. 78-79.
Antoine Salomon and Guy Cogeval, Vuillard: The Inexhaustible Glance: Critical Catalogue of Paintings and Pastels, Milan, Skira, 2003, vol. 2, no. VII-64 (ill.).
Richard Brettell and Stephen F. Eisenman, Nineteenth-Century Art in the Norton Simon Museum vol. 1 (New Haven and London, 2006), under no. 132, p. 493, fig. 132a.

Paris, Grand Palais, Salon d’automne, 2e exposition, October 15-November 15, 1904, cat. 1288.
Munich, Kunstsalon W. Zimmerman, March-April 15, 1908.
Paris, Musée des Arts Décoratifs, Le Décor de la vie de 1900 à 1925, 1937, cat. 201.
Paris, Museé des Arts Decoratifs, É. Vuillard, May- July 1938, cat. 69.
Basel, Kunsthalle, Édouard Vuillard, Charles Hug, March 26-May 1, 1949, cat. 230.
Paris, Museé National d’Art Moderne, Bonnard, Vuillard et les Nabis, June 8-October 2, 1955, cat. 221.
The Art Institute of Chicago, Beyond the Easel: Decorative Painting by Bonnard, Vuillard, Denis and Roussel, 1890-1930, February 25-May 16, 2001, cat. 41 (ill.), traveled to New York, Metropolitan Museum of Art, June 26-September 8, 2001.
Washington, DC, National Gallery of Art, Edouard Vuillard, January 19-April 20, 2003, cat. 142 (ill.), traveled to Montreal, Musée de Beaux-Arts de Montreal, May 15, 2003-August 24, 2003 and Paris, Galeries nationales du Grand Palais, September 23, 2003-January 4, 2004 and Lodnon, Royal Academy of Arts, January 31-April 18, 2004.

Commissioned from the artist by Adam Natanson (died 1906) to decorate the library of his apartment at 85 rue Jouffroy, Paris, 1899 [see “Inventaire après le décès de M. Natanson,” dated November 12, 1906, no. 68, copy in curatorial file]; transferred to Alfred Natanson’s appartment at 92 boulevard Malesherbes, Paris in 1904; by descent to Adam’s son, Thadée Natanson, Paris, 1906; his sale, Paris, Hôtel Drouot, June 13, 1908, lot 64; sold to Alexandre Natanson, Paris for 2, 600 francs; loaned to Léon Blum, Paris, from 1910 to 1929 [see Édouard Vuillard, Journal, April 18, 1910, II.4, fol. 21r, Institute de France]; Alexandre Natanson Sale, Paris, Hôtel Drouot, May 16, 1929, lot 127 (ill.); sold to Mme Bloch for Léon Blum (died 1950), Paris [see annotated catalogue at the Getty Research Institute and Salomon and Congeval 2003]; by descent to Robert Blum (died 1974), Paris, 1950. Knoedler and Co., New York [according to Salomon and Congeval 2003]. Reader’s Digest Association, Pleasantville, New York [according to Salomon and Congeval 2003]. Sale, Sotheby’s, New York, October 23, 1974, lot 216 (ill.); sold to John S. Samuels III, New York; Sale, Sotheby’s, New York, October 22, 1980, lot 60A (ill.); sold to Herman Shickman Gallery, New York [see New York Times 1981]; sold to the Art Institute, 1981.

Audio stop 791.mp3 <li class="m-listing m-listing--inline m-listing--sound"> <div class="m-listing__link"> <div class="m-listing__meta--sound"> Audio stop 791.mp3 </div> <div> <audio class="video-js vjs-fluid m-vjs-audio " data-gtm-prefix="audio" data-gtm-title="Audio stop 791.mp3" controls > <source src="https://www.artic.edu/assets/3893321d-bc75-6bdf-c3cc-00845216a781" type="audio/mpeg"> Your browser does not support the audio tag. </audio> </div> </div> </li>

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.

On View

Status

Department

Artist

Title

Place

Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.

Explore Further

Suggested Terms

On View

Date:

Artist:

About this artwork

Status

Department

Artist

Title

Place

Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

Medium

Inscriptions

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.

Extended information about this artwork

Publication History

Exhibition History

Provenance

Multimedia

Share

Explore Further

Sign up for our enewsletter to receive updates.

Gallery actions

Image actions

Share

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.