THEODORE ROBINSON (1852-1896)

The Farmer's Daughter

Details
THEODORE ROBINSON (1852-1896)
The Farmer's Daughter
oil on
canvas
25 ³/₄ x
21 ³/₄ in. (65.4 x 55.2 cm.)
Painted
circa 1890.
Provenance
Berry-Hill Galleries, Inc., New York.
Acquired by the present owner from the above, 1981.
Literature
F.D. Hill, "The Warner Collection of Gulf States Paper Corporation," The Magazine Antiques, November 1986, p. 1042, pl. x, illustrated.
J. Buchanan, American Art Review, Winter 1993, p. 65.
Indianapolis Museum of Art, et al., American Traditions: Art From the Collections of Culver Alumni, exhibition catalogue, Indianapolis, Indiana, 1993, p. 94, illustrated.
T. Armstrong, ed., An American Odyssey: The Warner Collection of American Fine and Decorative Arts, Gulf States Paper Corporation, Tuscaloosa, Alabama, New York, 2001, p. 157, illustrated.
Exhibition
Sylacauga, Alabama, Sylacauga Art Museum, February 24-March 24, 1982, on loan.
Jacksonville, Florida, Cummer Gallery of Art, American Favorites from the Warner Collection of Gulf States Paper Corporation and the David Warner Foundation, September 16-November 11, 1984.
Birmingham, Alabama, Birmingham Museum of Art, American Masterpieces from the Warner Collection, January 30, 1981-March 29, 1987.
South Bend, Indiana, South Bend Art Center, American Masterpieces from the Warner Collection, December 9, 1989-February 4, 1990.
Montgomery, Alabama, Montgomery Museum of Fine Arts, Impressions of America: The Warner Collection of Gulf States Paper Corporation, June 18-July 28, 1991, p. 157, illustrated.
Memphis, Tennessee, The Dixon Gallery & Gardens, Impressions of America, November 15, 1992-January 24, 1993.
Indianapolis, Indiana, Indianapolis Museum of Art, American Traditions: Art from the Collections of Culver Alumni, December 12, 1993-March 6, 1994, p. 94, illustrated.

荣誉呈献

Tylee-Abbott
Tylee Abbott Senior Vice President, Head of American Art
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展品专文

Of the many American painters drawn to the French village of Giverny, Theodore Robinson made the most lasting and meaningful contribution to American Impressionism. Whereas Robinson's pictures from the late 1880s and earlier were more tightly rendered, it was not until 1888, when he moved next door to Claude Monet in the small French country town of Giverny, that he fully adopted the Impressionist style. The painters worked alongside one another, and Sona Johnston writes that this "served to synthesize tendencies already apparent in [Robinson's] art in the mid-1880's into a personal impressionist style." (Theodore Robinson, 1852-1896, Baltimore, Maryland, 1973, p. vii) By the early 1890s Robinson had liberated his palette and brushwork to create more painterly, vibrant surfaces clearly evident in The Farmer’s Daughter.