Le travail présenté sur ce site est constitué par mes notes de recherche. Il a principalement été réalisé entre 2007 et 2019 alors que je poursuivais des études de baccalauréat, de maîtrise et de doctorat en histoire de l'art. Mes questions de recherche portaient sur les expositions organisées à Montréal entre 1860 et 1920, principalement les expositions d'œuvres prêtées à l'Art Association of Montreal devenue depuis le Musée des beaux-arts de Montréal. Le contenu est donc fortement orienté dans cette direction. Malgré tout, j'espère qu'il saura vous renseigner sur des aspects de cette période de notre passé artistique. Vous pouvez accéder à l'accueil des notes de recherche ou retourner sur l'accueil du site marcgauthier.com.
Autres titres
La note rouge: la sieste (Brooke1989,p.166)
Note in Red : The Siesta (TerraFoundation2016)
Année de création
1882
Commentaires
* Brooke 1989 p166:
1882-1883
Signé au-dessus du divan avec un papillon
Huile sur panneau
22,9 x 30,5 cm
ChIcago, Collection Daniel J. Terra, Terra Museum of American Art
- Historique:
Londres, Goupil (Boussod, Valadon & Cie), acquis de l'artiste avant 1891, 80£;
Montréal, Sir George A. Drummond, acquis de Boussod, Valadon & Cie le 21 décembre 1891, 3000F, jusqu'en 1910;
Londres, vente par les héritiers, Christie's, 26 juin 1991, 945£, à Alex Reid;
Glasgow, Alex Reid;
[...]
- Expositions:
Londres 1884
Dublin 1884
Munich 1888
New York 1889
Boston, Copley Society, Paintings, Oil... Memorial Exhibition... J. McNeill Whistler, Février 1904, no.84
Londres, New Gallery, Memorial Exhibition of the Works of the Late James McNeill Whistler, 1905, no.142
AAM 1918 Drummond, no.80, sous le titre La note rouge
Londres, Barbizon House, The Drummond Collection, 10-20 juin 1919, no.19
- Bibliographie [...]
* Terra Foundation, Chicago, 2016:
James McNeill Whistler
Note in Red: The Siesta
by 1884
Oil on panel
Image: 8 5/16 x 12 in. (21.1 x 30.5 cm)
Frame: 15 3/4 x 18 3/4 in. (40.0 x 47.6 cm)
Terra Foundation for American Art, Daniel J. Terra Collection, 1999.149
Signed: Upper right: butterfly monogram
- Interpretation:
Note in Red: The Siesta portrays Englishwoman Maud (Mary) Franklin, James McNeill Whistler’s model and mistress between the mid-1870s and 1888, lying on a red divan, a studio prop that appears in other works of the early 1880s. Quickly and sketchily executed in a nervous series of long brushstrokes, Maud’s recumbent form, enclosed within a voluptuous swathe of dress fabric and upholstery, suggests an unposed moment, a siesta for the weary model, whose voluminous skirt trails carelessly along the floor as she rests with her face turned from the viewer. The setting is unspecified, as if the painting is deliberately unfinished; above the back edge of the sofa, the stylized butterfly, Whistler’s idiosyncratic “signature,” asserts the reality of the flat panel surface on which the artist has pictured the scene.
The casual, even erotic intimacy of Note in Red: The Siesta, underscored by the brilliant color that dominates the painting, reflects the artist’s personal relationship with his subject, who had borne him two daughters. Maud, who called herself Mrs. Whistler, was the last in a series of women who were both Whistler’s models and his mistresses; he abruptly ended their more than decade-long affair in 1888 to marry Beatrice Birnie Philip Godwin. Maud posed for innumerable paintings, drawings, and prints (including several works in the Terra Foundation collection), but Whistler never individualized her features or allowed her name to appear in the titles of oil paintings he exhibited. As the impersonal title of this painting suggests, Whistler did not paint Maud so much as the decorative effect she occasioned, an approach consistent with his pursuit of an art defined by the harmonious arrangement of color and form rather than the illusionistic representation of subject matter. Note in Red: The Siesta was shown at a London gallery in 1884 in Whistler’s one-person exhibition significantly entitled ‘Notes’—‘Harmonies’—‘Nocturnes’, for which the artist designed the color-coordinated installation. Whistler used such titles drawn from names for musical compositions to draw an analogy between painting and music, a “pure” art form in which representation need play no part.
Throughout his career, the female figure served as a medium for the development of Whistler’s art. In images ranging from formal, full-length society portraits to such seemingly private, sketch-like works as Note in Red: The Siesta, Whistler pioneered the theme of woman as decorative object. He was deeply influenced by the stylized, languorously elegant women pictured in the Japanese woodcut prints he admired, and his treatments, in turn, set a precedent for two generations of American artists. Nude or clothed, the recumbent woman, caught in an idle moment of private rest or reverie in the private setting of the bedroom or boudoir, was a particular theme to which he repeatedly returned. Although it has precedents in Renaissance paintings of subjects from classical literature, Whistler treated the subject in a thoroughly modern manner, painting Maud in a fashionable, body-hugging dress with a rapidity and immediacy that emphasizes his presence and thus his personal relationship to the sleeping model. In both its exaltation of the quotidian, private moment and its assertion of the individual artist’s persona and process, Note in Red: The Siesta attests to Whistler’s status as a founder of artistic modernism.
- Provenance:
The artist
D. C. Thomson, Goupil Gallery, London, England
Goupil Gallery, Paris, France, 1891
Sir George A. Drummond, Montreal, Quebec, Canada, December 21, 1891
Christie's, London, England, June 27, 1919, lot 166
A. Reid, Glasgow, Scotland
E. R. Workman, London, England
M. Knoedler & Company, Inc., New York, New York, January 15, 1924
Stevenson & Scott, New York, May 16, 1924
Scott & Fowles, New York, 1926
Hunt Henderson, New Orleans, Louisiana
Tulane University, New Orleans, Louisiana (bequeathed by Hunt Henderson), 1939
MacDonald Gallery, New York (agent), G. L. Winthrop, New York
Mrs. Mary Gay Sherrod
Descended in family
Gay and Clifton Leonhardt, until 1982 (children of Mrs. Mary Gay Sherrod)
Davis & Langdale Company, Inc., New York, New York, 1982
Daniel J. Terra Collection, Chicago, Illinois, 1982
Terra Foundation for the Arts Collection, Chicago, Illinois, 1999
- Exhibition history:
'Notes'-'Harmonies'-'Nocturnes,' Dowdeswell Gallery, London, England, May 1884, no. 17.
Annual Exhibition of Sketches, Dublin Sketching Club, Dublin, Ireland December 1, 1884, no. 236.
III Internationale Kunst-Austellung, Koniglichen Glaspalast, Munich, Germany (organizer). Venue: Koniglichen Glaspalast, Munich, Germany, July 1888, no. 58 (as Eine rote Stimmung and listed by Whistler as Une note rouge).
Notes-Harmonies-Nocturnes, H. Wunderlich & Company, New York, New York (organizer). Venue: H. Wunderlich & Company, New York, New York, March 1889 (as Red Note-The Sofa).
Exhibition, Goupil Gallery (branch from London gallery), Paris, France, September 1891.
Loan Collection: Oil Paintings, Water Colors, Pastels, & Drawings: Memorial Exhibition of Mr. J. McNeill Whistler, Copley Society of Boston, Massachusetts, February 1904 (as La Note Rouge).
Memorial Exhibition of the Works of the late James McNeill Whistler, First President of the International Society of Sculptors, Painters and Gravers, New Gallery, London, England, February 22–April 15, 1905, no. 142 (as La Note Rouge). [exh. cat.]
Principal Pictures from the Collection of Sir George Drummond, Barbizon House, London, England (organizer). Venue: Barbizon House, London, England, 1919, no. 19.
Woman, Terra Museum of American Art, Evanston, Illinois (organizer). Venue: Terra Museum of American Art, Evanston, Illinois, February 21–April 22, 1984. [exh. cat.]
[...]
- Published references:
Pennell, Elizabeth Robins and Joseph Pennell. The Life of James McNeill Whistler. 2 vols. Philadelphia, Pennsylvania: J. B. Lippincott Company, 1908. Ill. p. 28 (black & white).
Young, Andrew McLaren, Margaret F. MacDonald, Robin Spencer with the assistance of Hamish Miles. The Paintings of James McNeill Whistler. New Haven, Connecticut and London, England: Yale University Press, 1980. Text no. 254, p. 140; pl. 174 (black & white).
MacDonald, Margaret F. Notes, Harmonies & Nocturnes: Small Works by James McNeill Whistler. (exh. cat., M. Knoedler & Company, Inc.). New York: M. Knoedler & Company, Inc., 1984. Ill. no. 25, p. 33 (color).
Nochlin, Linda. Woman. (exh. cat., Terra Museum of American Art). Evanston, Illinois: Terra Museum of American Art, 1984. Text p. 8; ill. no. 17, cover (color).
"Tips from the Pros: Whistler's Veils of Paint." American Artist 48 (April 1984): 102. Ill. p. 102 (color).
Sokol, David M. "The Terra Museum of American Art, Evanston, Illinois." The Magazine Antiques 126:5 (November 1984): 1156–69. Pl. XXIII, p. 1165 (color).
Atkinson, D. Scott et al. A Proud Heritage: Two Centuries of American Art. Edited by Terry A. Neff. (exh. cat., Terra Museum of American Art). Chicago, Illinois: Terra Foundation for the Arts, 1987. Pl. T-35, p. 144 (color).
Note in Red: The Siesta, James Abbott McNeill Whistler. Collection Cameo sheet, Terra Museum of American Art, Chicago, Illinois, July 1988. Ill. (black & white).
Brooke, Janet M. Discerning Tastes: Montreal Collectors 1880–1920. (exh. cat., Montreal Museum of Fine Arts). Montreal, Quebec: Montreal Museum of Fine Arts, 1989. Text pp. 166–67; pl. XVI, p. 48 (color), no. 61, p. 167 (color).
Von Rolf Bothe, Herausgegeben. Curt Hermann 1854–1929: Ein Maler Der Moderne In Berlin. (exh. cat., Berlin Museum). Berlin, Germany: Berlin Museum and Verlag Willmuth Arenhovel, 1989. Text pp. 147, 150, 152; ill. p. 150 (color).
Gerdts, William H. et al. Lasting Impressions: American Painters in France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 37–38; fig. 25, p. 37 (black & white).
Gerdts, William H. et al. Impressions de toujours: les peintres américains en France, 1865–1915. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 1992. Text pp. 37–38; fig. 25, p. 37 (black & white).
Southgate, M. Therese. "The Cover." The Journal of the American Medical Association 272:1 (July 6, 1994): 3. Text p. 3; ill. cover (color).
Southgate, M. Therese. "The Cover." The Journal of the American Medical Association France 6:56 (October 1994): 6. Text p. 6; ill. cover (color).
Dorment, Richard and Margaret F. MacDonald et al. James McNeill Whistler. (exh. cat., Tate Gallery). London, England: Tate Gallery, 1994. Text no. 135, pp. 217–18; ill. no. 135, p. 217 (color).
Enaud-Lechien, Isabelle. Whistler et la France. (exh. cat., Le Musée Miniature). Paris, France: Editions Herscher, 1994. Text p. 36; ill. p. 37 (color).
Covington, Richard. "Whistler in Retrospect." Art & Antiques 18 (May 1995): 90–96. Ill. p. 92 (color).
Dorment, Richard. "James McNeill Whistler, 1834–1903." American Art Review 7:3 (June–July 1995): 148-58. Ill. p. 150 (color).
Cartwright, Derrick R. The Extraordinary and the Everyday: American Perspectives, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 24 (checklist); ill. cover (color).
Cartwright, Derrick R. L'Héroïque et le quotidian: les artistes américains, 1820–1920. (exh. cat., Musée d'Art Américain Giverny). Chicago, Illinois: Terra Foundation for the Arts, 2001. Text p. 24 (checklist); ill. cover (color).
Bourguignon, Katherine M. and Elizabeth Kennedy. An American Point of View: The Daniel J. Terra Collection. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text pp. 106, 206; ill. pp. 9 (color), 107 (color), 206 (black & white).
Bourguignon, Katherine M. and Elizabeth Kennedy. Un regard transatlantique. La collection d'art américain de Daniel J. Terra. Chicago, Illinois: Terra Foundation for the Arts, 2002. Text pp. 106, 206; ill. pp. 9 (color), 107 (color), 206 (black & white).
Kennedy, Elizabeth. "The Terra Museum of American Art." American Art Review (December 2002): 126–41. Text p. 138; ill. p. 136 (color).
Myers, Kenneth John. Mr. Whistler's Gallery: Pictures at an 1884 Exhibition. (exh. cat., Freer Gallery of Art). Washington, D.C.: Freer Gallery of Art, Smithsonian Institution in association with Scala Publishers, 2003. Text pp. 21, 87–88; ill. pp. 72-73 (color).
Lecomte, Vanessa, editor. Portrait of a Lady : peinture et photographies américains (exh. cat., Musée d'Art Américain Giverny and Musée des beaux-arts de Bordeaux). Chicago, Illinois: Terra Foundation for American Art, 2008. Text p. 95; ill. p. 44 (color).
Bourguignon, Katherine M. American Impressionism: A New Vision 1880-1900. (exh. cat., Musée des Impressionnismes Giverny, National Galleries of Scotland, Museo Thyssen-Bornemisza). Giverny, France: Musée des Impressionnismes Giverny, 2014. (English, French and Spanish versions). Ill. p. 114 (color).
- Source:
http://collection.terraamericanart.org/view/objects/asitem/Objects$0040177/26?t:state:flow=c8e8a59c-67f6-48c7-9cf9-2a7c2d8f43e9
Page consultée le 31 mai 2016
Collectionneur(s) / propriétaire(s) recensés de l'œuvre
Reproductions Les images sont fournies à titre indicatif seulement. Elles ne représentent pas nécessairement l'oeuvre en question.
Terra Foundation
http://collection.terraamericanart.org/view/objects/asitem/Objects$0040177/26?t:state:flow=c8e8a59c-67f6-48c7-9cf9-2a7c2d8f43e9
Page consultée le 21 mai 2016
