Woman at an Easel (Green Screen)

1936

Georges Braque
French, 1882–1963

Status: On View, Gallery 394
Department: Modern Art

Artist: Georges Braque
Title: Woman at an Easel (Green Screen)
Place: France (Artist's nationality)
Date: 1936
Medium: Oil on canvas
Inscriptions: Signed and dated, l.l.: "G Braque/36"
Dimensions: 92 × 73 cm (36 1/4 × 28 3/4 in.)
Credit Line: A Millennium Gift of Sara Lee Corporation
Reference Number: 1999.367
Copyright: © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris

Halvorsen, M. Walther, “Exposition Braque, Laurens, Matisse, Picasso à oslo, stockholm, copenhague,” Cahiers d’art 12, 6–7 (1937), p. 221 (ill.), as Femme peignant.
Galerie Paul Rosenberg, Exposition d’œuvres récentes de Georges Braque, exh. (Paris: Galerie Paul Rosenberg, 1937), n.p. (cat. 13, ill.), as Femme peignant.
Petit Palais, Les Maitres de l’art independant 1895–1937, exh. cat. (Paris: Petit Palais, 1937), p. 96 (cat. 2), as La femme peintre, 1936.
Palais Des Beaux-Arts, Exposition d’art français contemporain, exh. cat. (Brussels: Palais des Beaux-Arts), p. 15 (cat. 16), as Femme devant un chevalet, 1936.
Zervos, Christian, Histoire de l’art contemporain (Paris: Cahiers d’Art, 1938), p. 286 (ill.), as Femme peignant, 1936.
Stedelijk Museum, Parijsche Schilders, exh. cat. (Amsterdam: Stedelijk Museum, 1939), n.p. (cat. 32), as Vrouw voor een schildersezel, 1937.
Carnegie Institute, The 1938 International Exhibition of Paintings, exh. cat. (Pittsburgh: Carnegie Institute, 1938), n.p. (cat. 193, pl. 27, ill.), as Woman in Front of Easel, 1937.
Daily Telegraph, The Daily Telegraph Exhibition of French and British Modern Art, exh. cat. (Sydney: Daily Telegraph, 1939), n.p. (cat. 10), as Femme devant son chevalet.
Fumet, Stanislas, Braque (Paris: Braun, 1941), n.p. (fig. 34, ill.), as Femme au chevalet, 1936.
Frost, Rosamund, Contemporary Art: The March of Art from Cézanne Until Now (New York: Crown Publishers, 1942), p. 54 (ill.), as Guitare Bleue et Rouge, 1930.
Kunsthaus Zurich, Georges Braque, exh. cat. (Zurich: Kunsthaus, 1953), p. 8 (cat. 90), as Femme devant le chevalet, 1936.
Arts Club of Chicago, Twentieth Century Art Loaned by Members of the Arts Club of Chicago, exh. cat. (Chicago: Arts Club, 1954), n.p. (cat. 3), as Femme Peignant, 1936.
Art Gallery of Toronto, Nathan Cummings Collection: 19th and 20th Century French Paintings, exh. cat. (Toronto: Art Gallery, 1955), n.p. (cat. 1), as Femme peignant, ‘36.
Musée des Arts Decoratifs, Collection Nathan Cummings d’art ancien du Perou et peintures françaises XIXe et XXe siècle, exh. cat. (Paris: Musée des Arts Decoratifs, 1956), n.p. (cat. 15), as Femme peignant.
Gieure, Maurice, G. Braque (Paris: Pierre Tisné, 1956), pp. 53, n.p. (pl. 90, ill.), 101, as The Woman at an Easel, Femme au chevalet, 1936.
E. and A. Silberman Galleries, Art Unites Nations: An Exhibition of Paintings, exh. cat. (New York: E. and A. Silberman Galleries, 1957), n.p. (cat. 26, ill.), as La femme poignant, 1936.
Russell, John, G. Braque, (New York: Phaidon, 1959), pp. 28, 88 (pl. 52, ill.), 125, as Woman Painting, Femme peignant, 1936.
Carnegie Institute, 1896-1955, Retrospective Exhibition of Paintings from Previous Internationals, exh. cat. (Pittsburgh: Carnegie Institute, 1958), n.p. (cat. 77, ill.), as Femme Peignant, 1936.
Worms de Romilly, Nicole, Catalogue de l’œuvre de Georges Braque, vol. 3, Peintures 1936–1941 (Paris: Maeght Éditeur, 1961), n.p. (no. 2, ill.), as Femme au chevalet (paravent vert), 1936.
Contemporary Arts Center, Braque, exh. cat. (Cincinnati: Contemporary Arts Center, 1962), n.p. (ill.), as Woman at the Easel, Femme au chevalet (Paravent vert).
Richardson, John, Georges Braque (Paris: La Bibliothèque des arts, 1962), n.p., no. 29 (ill.).
Richardson, John (ed.), Georges Braque, 1882–1963: An American Tribute, exh. cat. (New York: Public Education Association, 1964), n.p. (cat. 29, ill.), as Woman at an Easel, 1936.
Minneapolis Institute of Arts, Paintings from the Cummings Collection, exh. cat. (Minneapolis: Institute of Arts, 1965), n.p., as Femme piegnant [sic], 1936.
Tono, Yoskiaki, Picasso/Braque, Gendai Sekai Bijutsu Zenshu 7 (Tokyo: Kawade Shobo, 1966), pp. 133, n.p. (pl. 66, ill.), as Femme au chevalet, 1936.
Mullins, Edwin, The Art of Georges Braque (New York: Harry N. Abrams, 1968), pp. 130, 138 (ill. 104, ill.), 213, as Woman with an Easel, 1936.
Lyman Allyn Museum, Paintings and Sculpture from the Collection of Mr. and Mrs. Nathan Cummings, exh. cat. (New London, Conn.: Lyman Allyn Museum, 1968), n.p. (ill.), as Woman at Easel, 1936.
Miyagawa, Atsushi, Braque/Léger (Japan: Kawade Shobo, 1968), pp. 104, 120, n.p. (no. 25, ill.), as Femme au chevalet, 1936.
Cogniat, Raymond, G. Braque (Paris: Nouvelles Éditions Françaises, 1970) p. 64 (fig. 61, ill.).
National Gallery of Art, Selections from the Nathan Cummings Collection, exh. cat. (Washington D.C.: National Gallery of Art, 1970), pp. 64 (cat. 49, ill.), 95, as Woman at an Easel (Green Screen), 1936.
Metropolitan Museum of Art, Summer Loan 1971 Paintings from New York Collections: Nathan Cummings Collection, exh. cat. (New York: Metropolitan Museum of Art, 1971), p. 1 (cat. 4), as Woman at an Easel (Green Screen), 1936.
Art Institute, Major Works from the Collection of Nathan Cummings, exh. cat. (Chicago: Art Institute, 1973), p. 53 (cat. 44, ill.), as Woman at an Easel (Green Screen), 1936.
Kushida, Magoichi, Braque, (Tokyo: Shinchosha, 1975), n.p. (no. 27, ill.).
Fortunescu, Irina, Braque, (Bucharest: Editura Meridiane, 1976), n.p. (fig. 46, ill.), as Femeie la sevalet, 1936.
Pouillon, Nadine and Isabelle Monod-Fontaine, Braque: œuvres de Georges Braque (1882–1963) (Paris: Musée National d’Art Moderne, 1982) pp. 99 (no. 4, ill.), 100, as La Femme au chevalet, 1936.
Consolidated Foods Corporation, Nathan Cummings Collection (Chicago: Consolidated Foods Corporation, 1983), pp. 12, 14 (fig. 8, ill.), as Woman at an Easel (Green Screen), 1936.
Brettell, Richard R., An Impressionist Legacy: The Collection of Sara Lee Corporation (New York: Abbeville Press, 1986), pp. 68, 69 (ill.), 70 (detail), 71 (detail), 116–117, as Woman Painting (Femme se peignant), 1936.
Fauchereau, Serge, Braque, Lyons (Paris: Éditions Albin Michel, 1987), pp. 81 (fig. 87, ill.), 127, as Femme au chevalet, 1936.
Nathan Cummings Foundation, Annual Report 1990 (New York: Nathan Cummings Foundation, 1990), cover (detail), as Woman Painting.
“Impressionist Legacy,” Compass Readings 22, 1 (January 1991), p. 90 (ill.).
Leymarie, Jean, Braque, les ateliers (Paris: Édisud, 1995), pp. 74 (fig. 25, ill.), 97, 229, as Femme au chevalet (paravent vert), 1936.
Polk Museum of Art, Modern Masters: The Collection of Sara Lee Corporation, exh. cat. (Lakeland, Fla.: Polk Museum of Art, 1995), pp. 2 (ill.), 15, as Woman Painting (Femme se peignant).
Artner, Alan G., “Sara Lee takes its art to new level,” Chicago Tribune (June 3, 1998), p. 14 (ill.), as Antwerp, 1906.
Brettell, Richard R., Monet to Moore: The Millennium Gift of Sara Lee Corporation, exh. cat. (New Haven, Conn.: Yale University Press, 1999), pp. xvii (fig. 16, ill.), 20 (cat. 5), 21 (ill.), 22-23, as Woman at an Easel, 1936.
Israël, Armand, George Braque: Père du Cubisme Initiateur de l’Art Contemporain (Paris: Éditions des Catalogues Raisonnés, 2013), p. 255 (ill.), as Femme au chevalet (paravent vert).

Paris, Galerie Paul Rosenberg, Exposition d’oeuvres récentes de Georges Braque, April 3–30, 1937, cat. 13 (ill.), as Femme peignant.
Paris, Petit Palais, Maitres des Art Independent 1895–1937, June–October 1937, p. 96, salle 29, cat. 2, as La femme peintre.
Pittsburgh, Carnegie Institute, 1937 International Exhibition of Paintings, October 14–December 5, 1937, hors cat.
Melbourne, Australia, David Jones’ Gallery, The Daily Telegraph Exhibition of French and British Modern Art, opened November 20, 1939, n. p., cat. 10, as Femme devant son chevalet.
Baltimore Museum of Art, Paintings by Georges Braque, November 22–December 27, 1942, no cat..
San Francisco, M. H. de Young Memorial Museum, The Nathan Cummings Collection, 1953.
Eugene, Oregon, University of Oregon, 1953; traveled to the Portland Museum of Art, Portland, Oregon.
Zürich, Switzerland, Kunsthaus Zürich, Georges Braque, June–July 1953, p. 8, cat. 90, as Femme devant le chevalet.
Arts Club of Chicago, Twentieth Century Art Loaned by Members of the Arts Club of Chicago, October 1–20, 1954, cat. 3, as Femme Peignant.
Art Gallery of Toronto, Nathan Cummings Collection: 19th and 20th Century French Paintings, September 9–Oct 16, 1955, cat. 1.
Paris, Musée des Arts Decoratifs, Collection Nathan Cummings d’art ancien du Perou et peintures françaises XIXe et XXe siècle, March–May 1956, n. p., cat. 15, as Femme Peignant.
New York, E. and A. Silberman Galleries, Art Unites Nations; An Exhibition of Paintings, December 10–28, 1957, n. p., cat. 26, as La Femme Peignant (ill.).
St. John, Canada, New Brunswick Museum, April 24–May 31, 1958.
Pittsburgh, Carnegie Institute, Retrospective Exhibition of Paintings from Previous Internationals, December 5, 1958–February 8, 1959, n. p., cat. 77 (ill.), as Femme Peignant.
Cincinnati, Ohio, Contemporary Arts Center, Homage to Georges Braque, September 22–October 22, 1962, n. p. (ill.), as Woman at the Easel, Femme au chevalet (Paravent vert); traveled to Chicago, The Arts Club, November 8–December 6, 1962, and Minneapolis, Minn., Walker Art Center, December 20, 1962–January 20, 1963.
New York, Paul Rosenberg Gallery, Georges Braque, 1882–1963: An American Tribute, April 7–May 2, 1964, cat. 29 (ill.).
Minneapolis, Minn., Minneapolis Institute of Arts, Paintings from the Cummings Collection, January 14–March 7, 1965, n. p., as Femme Piegnant.
New London, Conn., Lyman Allyn Museum, Connecticut College, Paintings and Sculpture from the Collection of Mr. and Mrs. Nathan Cummings, January 19–February 18, 1968, n. p. (ill.).
Washington D. C., National Gallery of Art, Selections from the Nathan Cummings Collection, June 28–September 11, 1970, p. 64, cat. 49 (ill.); traveled to New York, Metropolitan Museum of Art, July 1–September 7, 1971.
The Art Institute of Chicago, Major Works from the Collection of Nathan Cummings, October 20–December 9, 1973, p. 53, cat. 44 (ill.).
Winston-Salem, N. C., Reynolds House of American Art, An Impressionist Legacy: The Collection of Sara Lee Corporation, September 9–December 25, 1990; traveled to Memphis, Tenn., Dixon Gallery and Gardens, January 20–March 17, 1991.
Lakeland, Fla., Polk Museum of Art, Modern Masters: The Collection of Sara Lee Corporation, January 14-March 12, 1995, p. 2 and 15 (ill.), as Woman Painting (Femme sepoignant).
Laren, The Netherlands, Singer Museum, The Sara Lee Collection: An Impressionist Legacy, October 18, 1997–February 15, 1998.
Monet to Moore: The Millennium Gift of the Sara Lee Corporation, April 1–May 30, 1999, pp. xvii and 20–23, cat. 5 (ill.); traveled to Singapore, Museum of Art; Canberra, National Gallery of Australia, June 11–August 22, 1999; Raleigh, North Carolina Museum of Art, September 10–November 7, 1999; Oregon, Portland Art Museum, November 19, 1999–January 25, 1999; Chicago, Art Institute, March 15–May 28, 2000.

Paul Rosenberg (1881–1959), probably acquired directly from the artist, Paris and New York, by 1937 until at least 1941 [Paris 1937; Chicago 1941 checklist]. Keith Warner, New York [Bretell 1986]. E. and A. Silberman Galleries, New York, by 1953 [this and the following, Sara Lee Corporation collection records, copy in curatorial file]; sold to Nathan Cummings (1896–1985), Chicago, 1953; given to his son, Herbert K. Cummings (1923–1992), Phoenix, about 1978; sold to Consolidated Foods Corporation (later, The Sara Lee Corporation), 1981; given to the Art Institute of Chicago, 1999.

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