Landscape with a Water Mill

Alternate TitleUn Païsage [sic] où l’on voit un Moulin

Alternate TitleUn paysage, des fabriques, un moulin à eau, plusieurs figures et des animaux sur des plans différens [sic]

Alternate TitleVue des environs de Beauvais

Alternate TitlePaysage aux Environs de Beauvais et Souvenir d’Italie

Artist François Boucher (French, 1703 - 1770)

Date1740

MediumOil on canvas

DimensionsUnframed: 51 5/16 x 64 1/4 inches (130.33 x 163.2 cm)
Framed: 63 x 76 3/4 x 5 inches (160.02 x 194.95 x 12.7 cm)

Credit LinePurchase: William Rockhill Nelson Trust

Object number59-1

SignedSigned and dated lower right (on rock): F Boucher./.1740

On View

On view

Gallery Location

Collections

European Art

Terms

DescriptionStone mill and cottage, left, stream, center, trees, right; ruin of classical, circular temple, center rear. Three figures, center foreground; sheep and other figures, middleground.Exhibition History

Exhibition History

Salon de 1740, Salon du Louvre, Paris, August 22-September 15, 1740, no. 11, as Un Païsage [sic] aussi de pareille grandeur, où l’on voit un Moulin.

Tableaux et Dessins de l’École Française, Principalement du XVIII^e Siècle, Tirés de Collections d’Amateurs et Exposés Au profit de la Caisse de secours des Artistes Peintres, Sculpteurs, Architectes et Dessinateurs, galerie Martinet, 26, Boulevard des Italiens, Paris, fall 1860, no. 86, as Vue des environs de Beauvais.

Exposition François Boucher (1703-1770), Hôtel de M. Jean Charpentier, Paris, June 9-July 10, 1932, no. 74, as Paysage aux Ruines Classiques.

Romance and Reality: Aspects of Landscape Painting, For the Benefit of the Memorial Sloan-Kettering Cancer Center, Wildenstein, New York, October 18-November 22, 1978, no. 6, as Landscape in the Environs of Beauvais, and Souvenir of Italy.

François Boucher, 1703-1770, The Metropolitan Museum of Art, New York, February 17-May 4, 1986, The Detroit Institute of Arts, May 27-August 17, 1986, The Réunion des Musées Nationaux, Grand Palais, Paris, September 19, 1986-January 5, 1987, no. 34, as View of a Mill with Distant Temple.

The Splendor of Ruins in French Landscape Painting, 1630-1800, Allen Memorial Art Museum, Oberlin, OH, March 19-June 19, 2005, The Museum of Fine Arts, Houston, July 17-October 16, 2005, no. 4, as Landscape with a Water Mill.

Gallery Label

French 18th-century painters would often allude to the work of their 17th-century predecessors. Here, Boucher refers to landscapes by the French classical painter Claude Lorrain. Both paintings feature a water mill balanced by trees on the opposite side of the composition. Furthermore, in this landscape Boucher includes a temple in the distance that is based on the Temple of the Sybil at Tivoli, another favorite classical Claudian motif. Compared to his 17th-century predecessor, Boucher applies paint more thickly, in lighter strokes, resulting in a lush, decorative density typical of the Rococo.

Provenance

Probably Marin De la Haye (1684-1753), Paris, 1740-October 3, 1753;

To his wife, Madame de la Haye (née Marie-Edmée de Saint-Mars, d. 1776), Paris, 1753-1776 [1];

Purchased from her posthumous sale, Catalogue de Tableaux Originaux De Jacques Bassan, Gaspre Dughet, Philippe Wouwermans, Lenain, Baptiste Monoyer, Desportes, François Boucher, Charles Natoire; MM. Pierre, La Grenée, et autres Maîtres de diverses Écoles; Figures et grouppes [sic] de bronze et de marbre, Tables et Consoles de marbre, Glaces, etc., après le décès de Madame veuve de M. De La Haye, Fermier-Général, Hôtel Lambert, Paris, December 1, 1778, no. 30, as Un paysage, des fabriques, un moulin à eau, plusieurs figures et des animaux sur des plans différens [sic], by Pierre Rémy (1715-1797), Paris, 1778-April 5, 1782 [2];

Sold by Rémy at Tableaux, dont le plus grand nombre des bons Maîtres des trois Ecoles, de peintures à Gouache et Miniatures, Dessins et Estampes en feuilles et sous verre, Livres et suites d’Estampes. Après le décès de Madame Lancret, et de M**, Hôtel de Bullion, Paris, April 5, 1782, no. 157, and purchased by Ribouret, 1782 [3];

A[lphonse-Louis] Pinard (1815-1871), Paris, by 1860-October 18, 1871 [4];

Inherited by his wife, Adèle Emélie Pinard (née Robert, 1823-1915), Paris, 1871- March 25, 1915 [5];

By descent to her granddaughter, Fernande de Cardevac d’Havrincourt, Marquise d’Havrincourt (née Pinard, b. 1891), Château d’Havrincourt, Havrincourt, by July 2, 1958 [6];

Purchased from her anonymous sale, Important Old Master Drawings and Paintings Including Fine early Drawings of the Italian and Flemish Schools, Three views near Venice by Canaletto, St Blaise attributed to Raphael, Examples by Sir Peter Paul Rubens, Antoine Watteau, Nicolas Lancret, and Francesco Guardi; Fine Dutch Paintings, The Property of Mrs. Maud Barchard; and The Meeting of Abraham and Melchizedek by Rubens, Christ in the Act of Blessing from the Studio of Jan van Eyck; Also Fine Paintings of the English School, The Property of Lt.-Col. Harold Boyd-Rochfort; A View of Old Hall East Bergholt by Constable, The Property of Miss M. Gore; and A Portrait of Charles Lennox, Duke of Richmond by George Romney, The Property of Rt. Hon. Viscount Ednam, Sotheby’s, London, July 2, 1958, no. 111, as Paysage aux Environs de Beauvais et Souvenir d’Italie, by Leggatt Brothers, London, 1958 [7];

Probably purchased from Leggatt by Frederick Mont, Inc., New York, by October 1, 1958-1959 [8];

Purchased from Mont by The Nelson-Atkins Museum of Art, Kansas City, MO, 1959.

NOTES:

[1] Alastair Laing suggests that Landscape with a Water Mill and its pendant, La Forêt (Musée du Louvre, Paris) were painted by Boucher for Marin de la Haye and retained by his widow. See François Boucher: 1703-1770, exh. cat. (New York: Metropolitan Museum of Art, 1986), 186.

[2] An annotated sales catalogue owned by Pierre Rémy that is now at the Philadelphia Museum of Art Library records “Remy” as the buyer. Pierre Rémy was the auctioneer and expert for the sale.

[3] Alastair Laing (François Boucher: 1703-1770, 187) has suggested that Mme Lancret probably never owned NAMA’s painting despite the title of this sale. Rather, he proposes that the auctioneer Pierre Rémy inserted NAMA’s painting into her posthumous sale. An annotated sales catalogue housed in the Rijksbureau voor kunsthistorische en ikonografische Documentatie, The Hague, records the name of the buyer, however it is mostly illegible. The Getty Provenance Index transcribes it as “Ricouret,” however we defer here to the Musée du Louvre’s use of Ribouret as the name of the buyer of both this picture and its pendant, La Forêt, in its collection.

[4] “M. Pinard” was listed as the owner of the Boucher pendants, which are now in the Louvre and NAMA, in the catalogue accompanying the exhibition of 18^th-century French paintings held at the galerie Martinet in 1860. According to his posthumous inventory, Alphonse-Louis Pinard owned “deux grands tableaux à Boucher prisés trois mille francs,” and “deux petits tableaux représentant des paysages peints par Boucher prisés mille francs” (see Centre d’Accueil et de Recherche des Archives Nationales (CARAN), Paris, actes notariés, AN/MC/XIV/911, Records of Marie Louis Ernest Pitaux, Notaire à Paris, 2, Rue du Faubourg Poissonnière, 1871-novembre et décembre, “Inventaire après le décès de Monsieur Pinard, 16 novembre 1871,” nos. 178 and 234, in NAMA curatorial files). It is very likely that the entry for two large Boucher paintings references the NAMA and Louvre pendants, particularly as the latter was in the collection of Jacques Dubois de Chefdebien, Alphonse-Louis Pinard’s grandson, by 1932. In Chefdebien’s posthumous sale of 1941, “A. Pinard” is listed as the owner of the Louvre’s painting during the 1860 exhibition held at galerie Martinet. Although the catalogue accompanying Sotheby’s, London, sale of July 2, 1958, lists Chefdebien as the owner of the NAMA picture, there is no documentation or evidence to support this.

[5] According to Alphonse-Louis Pinard’s will and testament, he left his entire estate to his wife, Adèle Emélie Pinard. See Centre d’Accueil et de Recherche des Archives Nationales (CARAN), Paris, actes notariés, AN/MC/XIV/911, Records of Marie Louis Ernest Pitaux, Notaire à Paris, 2, Rue du Faubourg Poissonnière, 1871-novembre et décembre, “Dépôt judicaire du testament olographe de Monsieur Pinard, 7 novembre 1871” in NAMA curatorial files.

[6] Adèle Emélie Pinard’s will has not yet been catalogued and was therefore not available for research as of December 2, 2015 (see Centre d’Accueil et de Recherche des Archives Nationales (CARAN), Paris, actes notariés, C/RE/XIV/[unnumbered], Minutes et répertoires du notaire Jean PANHARD, 27 avril 1892 - 2 mars 1922, Testament olographe de Adèle-Emélie Robert, veuve de M. Alphonse-Louis Pinard, 25 mars 1915). However, Fernande Pinard most likely acquired the painting by descent, either directly from her grandmother or through her father, André Pinard (d. 1926). The Marquise had multiple residences in France: Château d’Havrincourt; Amphion, Évian-les-Bains; Cloyes-sur-le-Loir; and Paris (see Annuaire des Chateaux et des Villégiatures 47 (1933): 391).

[7] Annotated sales catalogue at the Spencer Art Reference Library, Kansas City, records “Leggatt” as the buyer.

[8] Letter from Betty and Frederick Mont to NAMA on October 1, 1958, indicates that Frederick had just returned from Europe with the painting. See NAMA curatorial files.

Published References

Explication des Peintures, Sculptures, et Autres Ouvrages de Messieurs de l’Académie Royale; Dont l’Exposition a été ordonnée, suivant l’intention de Sa Majesté, par M. Orry, Ministre d’Etat, Contrôler General des Finances, Directeur General des Bâtimens [sic], Jardins, Arts et Manufactures du Roy, et Vice-Protecteur de l’Académie; dans le grand Salon du Louvre: à commencer le 22. Aoust [sic] 1740. pour durer trois Semaines, exh. cat. (Paris: Jacques Collombat, 1740), 9, as Un Païsage aussi de pareille grandeur, où l’on voit un Moulin.

“Catalogue abregé [sic] des Ouvrages de Mrs les Peintures, Sculpteurs et Graveurs de l’Académie (aujourd’hui vivans,) exposés au Salon du Louvre, à commencer le 22. Août 1740. jusques [sic] et compris le 15. Septembre suivant, dont l’Exposition a été annoncée dans le dernier Mercure, p. 2117,” Mercure de France, Dédié au Roi (October 1740): 2272, as Un Paysage, où l’on voit un Moulin.

Pierre Rémy, Catalogue de Tableaux Originaux De Jacques Bassan, Gaspre Dughet, Philippe Wouwermans, Lenain, Baptiste Monoyer, Desportes, François Boucher, Charles Natoire; MM. Pierre, La Grenée, et autres Maîtres de diverses Écoles; Figures et grouppes [sic] de bronze et de marbre, Tables et Consoles de marbre, Glaces, etc., après le décès de Madame veuve de M. De La Haye, Fermier-Général (Paris: Musier, December 1, 1778), 11-12, as Un paysage, des fabriques, un moulin à eau, plusieurs figures et des animaux sur des plans différens [sic].

Pierre Rémy, Catalogue De Tableaux, dont le plus grand nombre des bons Maîtres des trois Ecoles [sic], de peintures à Gouache et Miniatures, Dessins et Estampes en feuilles et sous verre, Livres et suites d’Estampes. Après le décès de Madame Lancret, et de M** (Paris: Fremin et Pierre Remy [sic], 1781), 27.

Ph[ilippe] Burty, Catalogue de Tableaux et Dessins de l’École Française, Principalement du XVIII^e Siècle, Tirés de Collections d’Amateurs et Exposés Au profit de la Caisse de secours des Artistes Peintres, Sculpteurs, Architectes et Dessinateurs, exh. cat. (Paris: J. Claye, 1860), 23.

W[illiam] Bürger [Théophile Thoré], “Exposition de Tableaux de l’École Française Ancienne tirés des Collections d’Amateurs,” Gazette des Beaux-Arts: Courrier Européen de L’Art et de la Curiosité 7, no. 42 (September 15, 1860): 345, as le Moulin, erroneously as in the Salon of 1741.

Edmond Goncourt and Jules Goncourt, Boucher: Étude Contenant Quatre Dessins gravés à l’eau-forte (Paris: E. Dentu, 1862), 8n2, as un paysage où l’on voit un moulin.

Paul Mantz, François Boucher, Lemoyne et Natoire (Paris: A. Quantin, 1880), 92, 94, as Moulin.

Émile Bellier de La Chavignerie and Louis Auvray, Dictionnaire Général des Artistes de l'École Française depuis l’origine des arts du dessin jusqu’à nos jours: architectes, peintres, sculpteurs, graveurs et lithographes, vol. 1 (1882; repr., New York: Garland, 1979), 129.

Paul d’Air, “François Boucher,” Le Bulletin des Beaux-Arts: Répertoire des Artistes Français, year 1 (1883-1884): 88, as Paysage où paraît un Moulin.

André Michel, François Boucher (Paris: J. Rouam, 1886), 46-47, as Paysage où paraît un moulin, erroneously as in the Salon of 1741.

André Michel, François Boucher (Paris: H. Piazza et Cie, [1906]), 42, 43, as Paysage où paraît un moulin, and Moulin, as erroneously in the Salon of 1741.

L[ouis] Soullié and Ch. Masson, Catalogue Raisonné de l’Œuvre Peint et Dessiné de François Boucher, in André Michel, François Boucher (Paris: H. Piazza et Cie, [1906]), no. 1738, pp. 98, 148, 150, as Environs de Beauvais and Paysage.

Haldane MacFall, Boucher: The Man, His Times, His Art, and His Significance, 1703-1770 (London: Connoisseur, Carmelite House, E. C., 1908), 36, as Landscape with a Mill.

Maurice Fenaille, François Boucher (Paris: Éditions Nilsson, 1925), 54, 59, as Paysage où l’on voit un moulin.

Pierre de Nolhac, Boucher: Premier Peintre du Roi (1907; repr., Paris: Henri Floury, 1925), 73, as paysage où l’on voit un moulin.

Pierre de Nolhac and Charles Sterling, Exposition François Boucher (1703-1770), new ed., exh. cat. (Paris: Fondation Foch, 1932), 35, as Paysage aux Ruines Classiques.

Advertisement, The Burlington Magazine 100, no. 633 (June 1958): xviii, (repro.), as The Water Mill.

Catalogue of Important Old Master Drawings and Paintings Including Fine early Drawings of the Italian and Flemish Schools, Three views near Venice by Canaletto, St Blaise attributed to Raphael, Examples by Sir Peter Paul Rubens, Antoine Watteau, Nicolas Lancret, and Francesco Guardi; Fine Dutch Paintings, The Property of Mrs. Maud Barchard; and The Meeting of Abraham and Melchizedek by Rubens, Christ in the Act of Blessing from the Studio of Jan van Eyck; Also Fine Paintings of the English School, The Property of Lt.-Col. Harold Boyd-Rochfort; A View of Old Hall East Bergholt by Constable, The Property of Miss M. Gore; and A Portrait of Charles Lennox, Duke of Richmond by George Romney, The Property of Rt. Hon. Viscount Ednam (London: Sotheby, July 2, 1958), 32, (repro.), as Paysage aux Environs de Beauvais et Souvenir d’Italie.

“From Chadwick to Rubens: Art, Auction and Museum News at Home,” The Illustrated London News (July 12, 1958): 79, (repro.), as Paysage aux Environs de Beauvais à Souvenir d’Italie.

“Twenty-fifth Anniversary Acquisitions,” Bulletin (The Nelson Gallery and Atkins Museum) 1, no. 2 (December 1958): 12-13, (repro.), as Landscape in the Environs of Beauvais and Souvenir of Italy.

Jan Dickerson, “Nelson Gallery Marks 25th Year: 700 Guests at the Anniversary Observance Preview Exhibitions Which Will Open to the Public Today,” The Kansas City Times 121, no. 296 (December 12, 1958): 1, 20, (repro.), as Landscape near Beauvais.

H. L. F., “Kansas City: Depression-Baby 25 Years Later,” ARTnews 57, no. 9 (January 1959): 40, as Landscape in the Environs of Beauvais.

“Accessions of American and Canadian Museums, October-December 1958,” The Art Quarterly 22, no. 1 (Spring 1959): 82, 86, (repro.), as Landscape in the Environs of Beauvais and Souvenir of Italy.

Bulletin (The Nelson Gallery and Atkins Museum) 2, no. 1 (March 1959): (repro.), as Landscape in the Environs of Beauvais and Souvenir of Italy.

J. Q. van Regteren Altena, “Het landschap bij Beauvais van François Boucher,” Bulletin van het Rijksmuseum 7, no. 2 (1959): 31, as Un autre, un paysage où l’on voit un moulin.

Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4^th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 260, as Landscape Near Beauvais.

“Check list of acquisitions,” Bulletin (The Nelson Gallery and Atkins Museum) 2, no. 3 (January 1960): 12, as Landscape in the Environs of Beauvais and Souvenir of Italy.

“Nelson Gallery Benefits from Donors’ Generosity,” The Kansas City Star 80, no. 234 (May 8, 1960): 3A, as Landscape in the Environs of Beauvais and Souvenir of Italy.

Eloise Spaeth, American Art Museums and Galleries: An Introduction to Looking (New York: Harper and Brothers, 1960), 159, as Landscape in the Environs of Beauvais.

[Denys Sutton], France in the eighteenth century, 2^nd rev. ed., exh. cat. (London: Royal Academy of Arts, 1968), 48.

Marianne Roland Michel, “Observations on Madame Lancret’s Sale,” L’Art du Dix-huitième Siècle: An advertisement supplement to The Burlington Magazine, no. 23 (October 1969): vi.

The State Hermitage Museum, Fransua Bushe (1703-1770) Zhivopis', grafika, prikladnoe iskusstvo, exh. cat. (Leningrad: Aurora, 1970), 12, as пейзаж с водяной мельницеи.

“François Boucher: Les tableaux du Louvre,” Le Petit Journal des Grandes Expositions, exh. cat. (July-October 1971), unpaginated, as Un moulin.

Regina Shoolman Slatkin, “Two Early Drawings by Francois Boucher,” Master Drawings 9, no. 4 (Winter 1971): 403n5, as Landscape in the Environs of Beauvais and Souvenir of Italy.

François Boucher: gravures et dessins provenant du Cabinet des Dessins et de la Collection Edmond de Rothschild au Musée du Louvre, exh. cat. (Paris: Ministère des Affaires Culturelles et Réunion des Musées Nationaux, 1971), 14, as Païsage aussi de pareille grandeur, où l’on voit un Moulin.

Ralph T. Coe, “The Baroque and Rococo in France and Italy,” Apollo 96, no. 130 (December 1972): 531, 537-38, (repro.) [repr. in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), 63, 69-70, (repro.)], as Landscape in the Environs of Beauvais and Souvenir of Italy.

Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5^th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 133, 135, 257, (repro.), as Landscape in the Environs of Beauvais and Souvenir of Italy.

Alexandre Ananoff and Daniel Wildenstein, François Boucher 1 (Lausanne: Bibliothèque des Arts, 1976), no. 175, pp. 19, 294-95, (repro.), as Paysage aux Environs de Beauvais et Souvenir d’Italie.

Romance and Reality: Aspects of Landscape Painting, For the Benefit of the Memorial Sloan-Kettering Cancer Center, exh. cat. (New York: Wildenstein, 1978), 12, (repro.), as Landscape in the Environs of Beauvais, and Souvenir of Italy.

Advertisement, Art Journal 38, no. 1 (Fall 1978): 2, (repro.), as Landscape in the Environs of Beauvais, and Souvenir of Italy.

Pierrette Jean-Richard, L’Œuvre gravé de François Boucher dans la Collection Edmond de Rothschild (Paris: Éditions des Musées Nationaux, 1978), 17, as un Païsage aussi de pareille grandeur, où l’on voit un Moulin.

Marietta Dunn, “Master Paintings Added to Gallery,” The Kansas City Star 99, no. 180 (April 15, 1979): [1]E.

Alexandre Ananoff and Daniel Wildenstein, L’Opera completa di Boucher (Milan: Rizzoli Editore, 1980), no. 188, pp. 99-100, (repro.), as Paesaggio dei Dintorni di Beauvais e Ricordo dell’Italia.

François Boucher: A Loan Exhibition For the Benefit of The New York Botanical Garden, exh. cat. (New York: Wildenstein, 1980), 22, as Paysage aux environs de Beauvais.

Denys Sutton, François Boucher, exh. cat. (Tokyo: Tokyo Metropolitan Art Museum, 1982), 210, 259, as Paysage aux environs de Beauvais.

Tom L. Freudenheim, ed., American Museum Guides: Fine Arts; A Critical Handbook to the Finest Collections in the United States (New York: Collier, 1983), 112.

“Pair of Paintings by Vernet Given to the Nelson,” Calendar of Events (The Nelson-Atkins Museum of Art) (January 1985): 2, as Landscape with a Water Mill.

François Boucher: 1703-1770, exh. cat. (New York: Metropolitan Museum of Art, 1986), 21, 183-87, 213, 319, (repro.), as View of a Mill with Distant Temple.

“François Boucher, 1703-1770,” Le petit Journal des grandes Expositions (Réunion des musées nationaux), no. 164 (1986): 2, as La Vue d’un moulin avec un temple dans le lointain.

“Old Master Drawings and Watercolors,” Calendar of Events (The Nelson-Atkins Museum of Art) (June 1986): 6, as Landscape with a Water Mill.

Carter Ratcliff, “François Boucher, Absolutist Painter,” Art in America 74, no. 7 (July 1986): 95, as View of a Mill with Distant Temple.

George Brunel, Boucher (New York: Vendome Press, 1986), 152, 180, 186-87, (repro.), as Landscape with a watermill or Paysage où l’on voit un moulin.

François Boucher: 1703-1770 (Levallois, France: Beaux-Arts Magazine, [1986]), 9, as Paysage où l’on voit un moulin.

Pierre Rosenberg and Michel Hilaire, Boucher: 60 chefs-d’œuvre (Fribourg: Office du Livre, 1986), 6-7, as Vue d’un moulin avec un temple à distance.

Christopher Andreae, “Serious about fantasy,” The Christian Science Monitor 79, no. 39 (January 22, 1987): 30-31, (repro.), as View of a Mill with Distant Temple.

Ellen R. Goheen, The Collections of The Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 78-79, (repro.), as Landscape with a Water Mill.

Alan Wintermute, ed., Claude to Corot: The Development of Landscape Painting in France, exh. cat. (New York: Colnaghi, 1990), 113-14, (repro.), as View of a Mill with Distant Temple.

Bryan Crossling, European Paintings from The Bowes Museum (London: Merrell Holberton, 1993), 28, as Landscape in the environs of Beauvais, and souvenir of Italy.

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 40, 130, 184, (repro.), as Landscape with a Water Mill.

Hector Feliciano, The Lost Museum: The Nazi Conspiracy to Steal the World’s Greatest Works of Art (New York: BasicBooks, 1997), 226-27, as Landscape with Mill, also called View of Mill with a Temple in the Distance.

Alice Thorson, “Uncover the painting, discover the past: Restoring artwork can be a touchy job for this conservator,” Kansas City Star (June 9, 1998): E1, as Landscape with a Water Mill.

Colin B. Bailey, “Poussin’s L’Enfance de Bacchus newly identified in two eighteenth-century collections,” in Anna Cavina et al., eds., Mélanges en homage à Pierre Rosenberg: Peintures et dessins en France et en Italie, XVIIe–XVIIIe siecles (Paris: Reunion des Musees Nationaux, 2001), 67.

Françoise Joulie and Jean-François Méjanès, François Boucher: hier et aujourd’hui, exh. cat. (Paris: Réunion des Musées Nationaux, 2003), 80, as Paysage des environs de Beauvais.

Alastair Laing, The Drawings of François Boucher, exh. cat. (New York: American Federation of Arts, 2003), p. 35, p. 238 no. 49n6, as Landscape with a Watermill.

Jo Hedley, François Boucher: Seductive Visions, exh. cat. (London: Wallace Collection, 2004), 84, as The Mill.

Françoise Joulie, Boucher et Les Peintres du Nord, exh. cat. (Paris: Réunion des Musées Nationaux, 2004), 93, as Vue d’un moulin avec un temple dans le lointain.

Pierre Sanchez, Dictionnaire des Artistes Exposant dans les Salons des XVII et XVIII^ème Siècles à Paris et en Province, 1673-1800, 1 (Dijon: L’Echelle de Jacob, 2004), 225, as Un Païsage aussi de pareille grandeur, où l’on voit un Moulin.

Stephen D. Borys, T. Barton Thurber, and Alan Wintermute, The Splendor of Ruins in French Landscape Painting, 1630-1800, exh. cat. (Oberlin, OH: Allen Memorial Art Museum, Oberlin College, 2005), 26-27, 62, 64-66, 69, (repro.), as Landscape with a Water Mill.

Daniel Rabreau and Sandra Pascalis, eds., La Nature Citadine au Siècle des Lumières: Promenades Urbaines et Villégiature (Bordeaux: William Blake, 2005), 253, (repro.), as Vue d’un moulin avec un temple dans le lointain.

David Wakefield, Boucher (London: Chaucer Press, 2005), 49, 71, as Paysage aux environs de Beauvais.

“Vibrant Galleries Offer Fresh View of European Art,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 1, 5, (repro.).

Melissa Hyde, Making Up the Rococo: François Boucher and His Critics (Los Angeles: Getty Research Institute, 2006), 74n31.

Melissa Hyde and Mark Ledbury, eds., Rethinking Boucher (Los Angeles: Getty Research Institute, 2006), 144, as The Mill.

Anne Dulau, ed., Boucher and Chardin: Masters of Modern Manners, exh. cat. (Glasgow: Hunterian, University of Glasgow, 2008), 137, as Paisage ou [sic] l’on voit un Moulin.

Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 34, 95, (repro.), as Landscape with a Water Mill.

Yves Martial, “Les Paysages de François Boucher” (PhD diss., Université de Lille III, 2010), 6, 34, 50, 181-82, 227-28, 236, 238, as Vue d’un moulin avec un temple dans le lointain, and as Paysage aux environs de Beauvais et souvenir d’Italie.

Françoise Joulie, François Boucher: Fragments d’une Vision du Monde, exh. cat. (Paris: Gl Holtegaard, 2013), 169, 171n10, 176, 178, 180, as Vue d’un moulin avec un temple dans le lointain; Paysage des environs de Beauvais; and Paysage avec un Moulin.

Richard Rand, “François Boucher, Landscape with a Water Mill, 1740,” catalogue entry, and Mary Schafer, “François Boucher, Landscape with a Water Mill , 1740,” technical entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art , ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2021), https://doi.org/10.37764/78973.5.304 .

Information about a particular artwork or image, including provenance information, is based upon historic information and may not be currently accurate or complete. Research on artwork and images is an ongoing process, and the information about a particular artwork or image may not reflect the most current information available to the Museum. If you notice a mistake or have additional information about a particular artwork or image, please e-mail provenance@nelson-atkins.org.