Paris, Rue Saint-Honoré, Sun Effect, Afternoon

Alternate TitleParis, rue Saint-Honoré, effet de soleil, matin

Alternate TitleLa Rue Saint-Honoré, Effet de Soleil, Après-Midi

Alternate TitleLa Rue Saint-Honoré, après-midi, effet de soleil

Artist Camille Pissarro (French, 1830 - 1903)

Date1898

MediumOil on canvas

DimensionsUnframed: 25 3/4 x 21 1/2 inches (65.41 x 54.61 cm)
Framed: 36 3/8 x 32 1/2 x 4 inches (92.39 x 82.55 x 10.16 cm)

Credit LineGift of Henry W. and Marion H. Bloch

Object number2015.13.18

SignedSigned and dated lower right: C. Pissarro. 98

On View

On view

Gallery Location

Collections

European Art

Terms

DescriptionThis vertically oriented canvas depicts an urban street scene, specifically a large square at the intersection of two avenues, painted from an elevated viewpoint. The long avenue on the left side of the composition recedes sharply into the distance, framed on either side by tall, multistoried buildings with street level storefronts. In the right foreground, a fountain is positioned in the middle of the square on a paved circular base planted with tall trees; a tall streetlamp on a smaller circular base is positioned just in front of the fountain. In the right middle ground, a band of Haussmann-style Parisian buildings stretches horizontally across the composition. The trajectory of the second avenue is suggested by the angle of the building at the far right. Numerous clusters of sparsely painted figures and horse-drawn carriages populate the streets and paved islands. The palette is a harmony of muted pastel tones punctuated by the dark brown and black forms of people, horses, and carriages. The brushwork is a mixture of short and long strokes rapidly applied in a loose, sketch-like manner.Exhibition History

Exhibition History

Œuvres récentes de Camille Pissarro , Galerie Durand-Ruel, Paris, June 1–18, 1898, no. 23, as Rue Saint-Honoré. Matin, effet de soleil.

Exposition de l’Œuvre de Camille Pissarro , Galeries Durand-Ruel, Paris, April 7–30, 1904, no. 110, as La Rue Saint-Honoré.

Pissarro , Galerie Durand-Ruel, Paris, March 1908, no. 7, no cat.

Paintings by French Impressionists, Detroit Museum of Art, Detroit, November 1915, no. 38, as Rue St. Honore [sic], Paris.

Exhibition of paintings lent by Durand-Ruel , Brooks Reed Gallery, Boston, December 1916–January 1917, no cat.

Paintings by Pissarro , Durand-Ruel Galleries, New York, February 3–17, 1917, no. 5, no cat.

Exhibition of paintings lent by Durand-Ruel , Mattatuck Historical Society, Waterbury, CT, October–November, 1919, no cat.

A Group of French Paintings from Courbet down to and including the Contemporary Moderns, Albright Art Gallery, Buffalo, NY, November 16–December 14, 1930, no. 56, as Rue St. Honore [sic].

Exhibition of French Painting from the Fifteenth Century to the Present Day , California Palace of the Legion of Honor, San Francisco, June 8–July 8, 1934, no. 132, as Rue Saint Honoré.

The Gladys Lloyd Robinson and Edward G. Robinson Collection , Los Angeles County Museum, September 11–November 11, 1956; California Palace of the Legion of Honor, San Francisco, November 30, 1956–January 13, 1957, no. 42, as Rue St. Honoré.

Important XIX and XX Century Paintings , Lefevre Gallery, London, November 1–December 22, 1973, no. 13, as La Rue Saint-Honoré, Effet de Soleil, Après-Midi.

Le Centenaire de l’Impressionnisme , Ginza Matsuzakaya, Tokyo, July 25–August 11, 1974; Sapporo Matsuzakaya, Sapporo, Japan, August 17–28, 1974; Osaka Matsuzakaya, Osaka, Japan, September 5–17, 1974; Le Musée Préfectoral de Yamaguchi, Yamaguchi, Japan, September 20–30, 1974; Nagoya Matsuzakaya, Nagoya, Japan, October 3–15, 1974; Shizuoka Matsuzakaya, Shizuoka, Japan, October 17–29, 1974; Ueno Matsuzakaya, Ueno, Japan, October 31–November 12, 1974, no. 43, as La rue Saint-Honoré, Effet de Soleil, Après-midi.

The Bloch Collection , The Nelson-Atkins Museum of Art, Kansas City, MO, June–August 1982, no cat.

Paris Cafés: Their Role in the Birth of Modern Art , Wildenstein, New York, November 13–December 20, 1985, unnumbered, as The Rue Saint-Honoré in Afternoon Sunlight.

Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection , The Nelson-Atkins Museum of Art, Kansas City, MO, June 9–September 9, 2007, no. 8, as Rue Saint-Honoré, Sun Effect, Afternoon (La rue Saint-Honoré, effet de soleil, après-midi) .

Gallery Label

Camille Pissarro depicted a bird’s-eye view of the tiny figures and carriages that animated the streets and sidewalks at a busy intersection in the heart of Paris. To emphasize the verticality of the buildings, he cropped the facade of the structure at far left.

It was only toward the end of his prolific career that Pissarro increasingly turned from the rural French countryside as his subject to painting cityscapes from the windows of apartments and hotels. A recurring eye infection that forced him to work indoors may have prompted this new direction.

Provenance

Purchased from the artist by Durand-Ruel, Paris, stock no. L4635, as Paris, rue Saint-Honoré, effet de soleil, matin, May 2, 1898–February 20, 1917 [1];

Purchased from Durand-Ruel, New York, stock no. 3800, by Josef Stransky (1872–1936), New York, February 20–April 20, 1917 [2];

Purchased from Stransky by Durand-Ruel, New York, stock no. 4078, April 20, 1917–September 23, 1920 [3];

Purchased from Durand-Ruel by Henry Douglas Hughes (1869–1928), Philadelphia, September 23, 1920;

With Marie Sterner Gallery, New York, by May 16, 1930–at least June 8, 1934 [4];

Purchased from Marie Sterner Gallery, probably through Sam Salz, by Gladys Lloyd (née Cassell, 1895–1971) and Edward G. (1893–1973) Robinson, Beverly Hills, after July 8, 1934–1956 [5];

Edward G. Robinson (1893–1973), Beverly Hills, 1956–January 26, 1973 [6];

Inherited by his wife, Jane Robinson (née Bodenheimer, 1919–1991), January 26–April 3, 1973 [7];

Purchased from Jane Robinson by Armand Hammer, through Knoedler and Co., New York, on joint account with Acquavella Galleries, New York, April 3, 1973 [8]

Purchased from Acquavella Galleries by Alex Reid and Lefèvre Ltd., London, stock no. 46/73, by November 1, 1973–December 1976 [9];

Purchased from Reid and Lefèvre by Cynthia Wood (d. 1993), Santa Barbara, CA, December 1976–December 30, 1982;

Purchased from Wood, through John and Paul Herring and Co., New York, by Marion (née Helzberg, 1931–2013) and Henry (1922–2019) Bloch, Shawnee Mission, KS, December 30, 1982–June 15, 2015;

Given by Henry W. and Marion H. Bloch to the Nelson-Atkins Museum of Art, Kansas City, MO, 2015.

NOTES:

[1] D urand-Ruel purchased the painting from Pissarro under the title Paris, rue Saint-Honoré, effet de soleil, matin, not “après-midi”; see email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel et Cie., Paris, to Nicole Myers, NAMA, January 11, 2016, NAMA curatorial file. The painting was exhibited at Durand-Ruel, Paris, in April 1904, as belonging to “M. Lebeau,” a name sometimes used by Paul Durand-Ruel when he lent paintings from his personal collection. However, the painting was entered as stock into Durand-Ruel, Paris, from May 2, 1898 to February 20, 1917. The painting was transferred from Durand-Ruel, Paris, to Durand-Ruel, New York, in 1914. Durand-Ruel, New York, stock no. 3800. See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel et Cie, Paris, to Nicole Myers, NAMA, January 11, 2016, NAMA curatorial files.

[2] See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel et Cie, Paris, to Nicole Myers, NAMA, January 11, 2016, NAMA curatorial files.

[3] See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel et Cie, Paris, to Nicole Myers, NAMA, January 11, 2016, NAMA curatorial files.

[4] See letter from Marie Sterner to Louis Earle Rowe, Rhode Island School of Design, May 16, 1930, proposing the purchase of the painting by the museum. According to the letter, Sterner was acting as an agent for another owner. This may have been Hannah Curnuck Hughes (b. ca. 1885), widow of Henry D. Hughes, who often consigned paintings to Sterner. Archives of American Art, Smithsonian Institution, Washington, D. C., Clayton-Liberatore Gallery records and papers, 1899-1977, Marie Sterner Gallery subset, folder “Sterner, M. Rhode Is. School of Design.” See also https://www.nga.gov/collection/provenance-info.20330.html.

[5] See the publicity photo of Edward G. Robinson taken in 1934 featuring the painting. Along the bottom of the photo it reads: copyright 1934 Vitagraph Inc. Property of Vintagraph Inc. Photograph, gift of Harold Sterner, 41919, Frick Art Reference Library, New York (FARL) negative. Robinson purchased the painting shortly after Marie Sterner lent it to the California Palace of the Legion of Honor, San Francisco, from June 8 to July 8, 1934.

[6] Gladys and Edward G. Robinson divorced in 1956. In the divorce proceedings, the couple sold most of their art collection, with the exception of fourteen paintings (including the Nelson-Atkins canvas) which were retained by Edward. See letter from Knoedler and Co., New York, to Edward G. Robinson, January 18, 1957, copy in NAMA curatorial files. See also M. Knoedler and Co. records, approximately 1848–1971. Series VI. Correspondence, box 985, Folder 5, Getty Research Institute, Los Angeles. In 1958, Robinson married his second wife, Jane Bodenheimer.

[7] A publicity photo of Robinson taken in 1973 for his upcoming film Soylent Green features the Nelson-Atkins painting. This was Robinson’s final film appearance as he died on January 26, twelve days after the completion of filming; see photograph in Edward G. Robinson and Leonard Spigelgass, All My Yesterdays: An Autobiography (New York: New American Library, 1975), unpaginated, (repro.), as La Rue St. Honoré.

[8] In his will, Robinson left his wife Jane his entire art collection, including the Pissarro, The Dead Tree. The entire collection was purchased by oil tycoon Armand Hammer, through his firm Knoedler and Co., New York, on April 3, 1973; see “Knoedler Pays 5-Million For Robinson Collection,” New York Times (April 4, 1973): 36, and Alan L. Gansberg, Little Caesar: A Biography of Edward G. Robinson (Lanham, MD: Scarecrow Press, 2004), 257. Acquavella Gallery, New York, also purchased the collection in conjunction with Armand Hammer; see Peter Aspden, “Lunch with the FT: William Acquavella,” Financial Times (September 30, 2011).

[9] See the Alex Reid and Lefèvre Ltd label on the painting’s backing board, lower middle, encapsulated white rectangular with blue border, handwritten in black marker: 64/73. This information was confirmed via a similar label found on the verso of a painting at the Art Institute of Chicago; see Gloria Groom et al., Pissarro: Paintings and Works on Paper at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 2015), no. 2, https://publications.artic.edu/pissarro/sites/publications.artic.edu.pissarro/files/file_assets/Cat.2VRSstr26351_PDF.pdf.

Published References

Exposition d’œuvres récentes de Camille Pissarro , exh. cat. (Paris: A. Marty et H. Floury, 1898), unpaginated, as Rue Saint-Honoré.–Matin, effet de soleil.

Arsène Alexandre, “Vues de Paris de M. Pissarro,” Le Figaro, no. 154 (June 3, 1898): 4.

Possibly Georges Lecomte, “ Camille Pissarro,” Les Droits de l’homme (June 4, 1898).

Eugene Hoffman, “Les Petits salons, Camille Pissarro,” Le Journal des Artistes, (June 5, 1898): 2311.

Possibly “Ausstellungen,” Frankfurter Zeitung (June 14, 1898).

Possibly F. Jourdain, “Les Hommes du Jour, Camille Pissarro,” L’éclair (June 18, 1898).

Georges Lecomte, “Camille Pissarro,” Revue Populaire des Beaux-Arts 22, no. 35 (June 18, 1898) 43.

Gustave Geffroy, “Camille Pissarro,” Le Journal Quotidien, Littéraire, Artistique et Politique 7, no. 2007 (June 25, 1898): 2 [repr. in Gustave Geffroy, La Vie Artistique, vol. 6, Eau-forte de Camille Pissarro (Paris: H. Floury, 1900), 183–85].

Possibly Ch. Snabilie, “De Impressionisten, III, Camille Pissarro,” De Amsterdammer Week-blad voor Nederland (August 21, 1898).

“Art Moderne,” Mercure de France 27, no. 103 (July 1898): 280.

Possibly F.-A. Bridgmann, “L’Anarchie dans l’art impressionnisme-symbolisme,” L'anarchie dans l'art (1898).

Catalogue de l’Exposition de l’Œuvre de Camille Pissarro , exh. cat. (Paris: Trève, 1904), 19, as La Rue Saint-Honoré.

Pissarro (Paris: Galerie Durand-Ruel, 1908).

Catalogue of an Exhibition of Paintings by French Impressionists , exh. cat. (Detroit: Detroit Museum of Art, 1915), unpaginated, as Rue St. Honore [sic], Paris.

Paintings by Pissarro (New York: Durand-Ruel Galleries, 1917).

Catalog of Exhibitions Commemorating the Twenty-Fifth Anniversary of the Opening of Albright Art Gallery (New York: The Buffalo Fine Arts Academy, 1930), 15, as Rue St. Honore [sic].

Exhibition of French Painting from the Fifteenth Century to the Present Day , exh. cat. (San Francisco: California Palace of the Legion of Honor, 1934), 57, (repro.), as Rue Saint Honoré.

Ludovic Rodo Pissarro and Lionello Venturi, Camille Pissarro, Son Art—Son Œuvre (Paris: Paul Rosenberg, 1939), no. 1021, pp. 1:223, 2:204, (repro.), as La Rue Saint-Honoré, Effet de Soleil, Après-Midi.

John Rewald, “Pissarro’s Paris and His France,” Art News 42, no. 2 (March 1–14, 1943): 16, (repro.), as Rue St. Honore [sic ].

John Rewald and Lucien Pissarro, ed., Camille Pissarro, Letters to His Son Lucien (1943; repr., Boston: MFA Publications, 2002), 9, 317, (repro.), as La rue Saint-Honoré, Paris.

The Gladys Lloyd Robinson and Edward G. Robinson Collection , exh. cat. (Los Angeles: Los Angeles County Museum, 1956), unpaginated, (repro.), and Rue St. Honoré.

John Rewald, Camille Pissarro, 1sted. (New York: Harry N. Abrams, 1963), 150.

Jane Robinson, Edward G. Robinson’s World of Art (New York: Harper and Row, 1971), 20–21, 99, (repro.), asLa Rue Saint-Honore [sic],Effet de Soleil, Apres-Midi [sic](The Rue Saint-Honore [sic] in the Afternoon Sunlight).

“Knoedler Pays 5-Million For Robinson Collection,” New York Times 122, no. 42,074 (April 4, 1973): 36.

Edward G. Robinson, All My Yesterdays: An Autobiography (New York: New American Library, 1973), unpaginated, (repro.), as La Rue St. Honoré.

Important XIX and XX Century Paintings , exh. cat. (London: Lefevre Gallery, 1973), 28–29, (repro.), as La Rue Saint-Honoré, effet de Soleil, après-midi.

Diana Hildreth, “XIX and XX Century Paintings,” Arts Review 25, no. 23 (November 3, 1973): 786, (repro.), as La Rue Saint-Honoré, effet de Soleil, après-midi.

William Allan, “Art and Antiques in London: The Summer Scene,”Connoisseur, no. 748 (June 1974): 135, (repro.), as La Rue Saint-Honoré, effet de Soleil Après-midi.

François Daulte, Le Centenaire de l’Impressionnisme, exh. cat. (Tokyo: Ginza Matsuzakaya, 1974), unpaginated, (repro.), as La rue Saint-Honoré. Effet de Soleil, Après-midi.

Alex Reid and Lefevre, 1926–1976 (London: Lefevre Gallery, 1976), 31, 106–07, (repro), as La Rue Saint-Honoré, effet de soleil, après-midi.

Janine Bailly-Herzberg ed., Correspondence de Camille Pissarro, vol. 1, 1865–1885 (Paris: Editions du Valhermeil, 1980), 49.

“The Bloch Collection,” Gallery Events (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) (June–August 1982): unpaginated.

Georges Bernier, Paris Cafés: Their role in the birth of Modern Art, exh. cat. (New York: Wildenstein, 1985), 74, 96, 120, (repro.), asLa Rue Saint-Honoré – Effet de Soleil and The Rue Saint-Honoré in Afternoon Sunlight.

Christopher Lloyd, ed., Studies on Camille Pissarro (London: Routledge and Kegan Paul, 1986), 113n1.

Janine Bailly-Herzberg, ed., Correspondence de Camille Pissarro, vol. 4, 1895–1898 (Paris: Editions du Valhermeil, 1989), 476, Rue Saint-Honoré, effet de soleil après-midi.

Ludovico Rodo Pissarro and Lionello Venturi, Camille Pissarro, Son Art—Son Œuvre, 2nd rev. ed (San Francisco: Alan Wofsy Fine Arts, 1989), no. 1021, pp. 1:223, 2:unpaginated, (repro.), as La Rue Saint-Honoré, Effet de Soleil, Après-Midi.

Richard Brettell and Joachim Pissarro, The Impressionist and the City: Pissarro’s Series Paintings, ed. MaryAnne Stevens, exh. cat. (New Haven, CT: Yale University Press, 1992), 81–82, 87, (repro.), as Rue Saint-Honoré: Sun Effect, Afternoon and Rue Saint-Honoré, effet de soleil, après-midi.

Mikael Wivel, Ordrupgaard Selected Works (Copenhagen: Ordrupgaard, 1993), unpaginated.

Christofer Conrad, Renoir, Gauguin, Degas: Schätze der Sammlung Ordrupgaard, Kopenhagen , exh. cat. (Stuttgart: Staatsgalerie Stuttgart, 2003), 80–81, 103n51.

Alan L. Gansberg, Little Caesar: A Biography of Edward G. Robinson (Lanham, Md: Scarecrow Press, 2004), 357, The Dead Tree.

Eva-Maria Preiswerk-Lösel, ed., A House for the Impressionists: The Langmatt Museum (Ostfildern-Ruit: Hatje Cantz, 2005), 144.

Joachim Pissarro and Claire Durand-Ruel Snollaerts, Pissarro: Catalogue critique des peintures; Critical Catalogue of Paintings (New York: Wildenstein Institute Publications, 2005), no. 1199, pp. 1: 364, 366–67, 370–71, 379, 391, 401–02, 409, 3:749, 751, (repro.), as La Rue Saint-Honoré, après-midi, effet de soleil.

Rebecca Dimling Cochran and Bobbie Leigh, “100 Top Collectors who have made a difference,” Art and Antiques (March 2006): 90.

Bobbie Leigh, “Magnificent Obsession,” Art and Antiques 29, no. 6 (June 2006): 61, (repro.), as Rue Saint-Honoré: Sun Effect, Afternoon.

Alice Thorson, “A final countdown - A rare showing of Impressionist paintings from the private collection of Henry and Marion Bloch is one of the inaugural exhibitions at the 165,000-square-foot glass-and-steel structure,” Kansas City Star (June 29, 2006): B1.

“Inaugural Exhibitions Celebrate Kansas City,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 3.

Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection , exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 10, 13, 56-59, 156-57, (repro), as Rue Saint-Honoré, Sun Effect, Afternoon (La rue Saint-Honoré, effet de soleil, après-midi) .

Alice Thorson, “A Tiny Renoir Began an Impressive Obsession,” Kansas City Star (June 3, 2007): E4, (repro,), as Rue Saint-Honoré, Sun Effect, Afternoon.

“Lasting Impressions: A Tribute to Marion and Henry Bloch,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2007): 11-12.

Steve Paul, “Pretty Pictures: Marion and Henry Bloch’s Collection of Superb Impressionist Masters,” Panache 4, no. 3 (Fall 2007): 20, as Rue Saint-Honoré.

Alice Thorson, “Museum to Get 29 Impressionist Works from the Bloch Collection,” Kansas City Star (February 5, 2010): A1.

Carol Vogel, “Inside Art: Kansas City Riches,” New York Times 159, no. 54,942 (February 5, 2010): C26.

Melissa Muller, Lost Lives, Lost Art: Jewish Collectors, Nazi Art Theft, and the Quest for Justice (New York: Vendome Press, 2010), 11.

Thomas M. Bloch, Many Happy Returns: The Story of Henry Bloch, America’s Tax Man (Hoboken, NJ: John Wiley and Sons, 2011), 175.

Markus Müller , Camille Pissarro: Mit den Augen eines Impressionisten (München: Hirmer, 2013), 47.

Diane Stafford, “Bloch Gift to Go for Nelson Upgrade,” Kansas City Star 135, no. 203 (April 8, 2015): A8.

“Nelson-Atkins Museum of Art Officially Accessions Bloch Impressionist Masterpieces,” Artdaily.org (July 25, 2015): http://artdaily.com/news/80246/Nelson-Atkins-Museum-of-Art-officially-accessions-Bloch-Impressionist-masterpieces#.V6oGwlKFO9I .

Julie Paulais, “Le Nelson-Atkins Museum of Art reçoit des tableaux impressionnistes en échange de leurs répliques,” Le Journal des arts (July 30, 2015): http://www.lejournaldesarts.fr/site/archives/docs_article/129801/le-nelson-atkins-museum-of-art-recoit-des-tableaux-impressionnistes-en-echange-de-leurs-repliques.php .

Josh Niland, “The Nelson-Atkins Museum of Art Acquires a Renowned Collection of Impressionist and Postimpressionist Art,” architecturaldigest.com (August 6, 2015): https://www.architecturaldigest.com/story/nelson-atkins-museum-accessions-bloch-art-collection .

Nina Siegal, “Upon Closer Review, Credit Goes to Bosch,” New York Times 165, no. 57130 (February 2, 2016): C5.

“Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017,” Artdaily.org (July 20, 2016): http://artdaily.com/news/88852/Nelson-Atkins-to-unveil-renovated-Bloch-Galleries-of-European-Art-in-winter-2017-#.W-NDepNKhaQ .

“Nelson-Atkins Museum of Art celebrates generosity of Henry Bloch with new acquisition,” Artdaily.org (October 18, 2016): http://artdaily.com/news/90923/Nelson-Atkins-Museum-of-Art-celebrates-generosity-of-Henry-Bloch-with-new-acquisition#.W-NDv5NKhaQ .

Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 74-75, (repro.), as Rue Saint-Honoré, Sun Effect, Afternoon.

Kelly Crow, “Museum Rewards Donor with Fake Art to Hang at Home,” Wall Street Journal (January 25, 2017): https://www.wsj.com/articles/museum-rewards-donor-with-fake-art-to-hang-at-home-1485370768 .

David Frese, “Bloch savors paintings in redone galleries,” Kansas City Star (February 25, 2017): 1A.

Albert Hect, “Henry Bloch’s Masterpieces Collection to Go on Display at Nelson-Atkins Museum,” Jewish Business News (February 26, 2017): http://jewishbusinessnews.com/2017/02/26/henry-bloch-masterpieces-collection/ .

David Frese, “Inside the Bloch Galleries: An interactive experience,” Kansas City Star 137, no. 169 (March 5, 2017): 1D, 4D .

“Editorial: Thank you, Henry and Marion Bloch,” Kansas City Star (March 7, 2017): http://www.kansascity.com/opinion/editorials/article137040948.html . [repr. “Thank you, Henry and Marion Bloch,” Kansas City Star 137, no. 172 (March 8, 2017): 16A].

Hampton Stevens, “(Not Actually) 12 Things To Do During The Big 12 Tournament,” Flatland: KCPT’s Digital Magazine (March 9, 2017): http://www.flatlandkc.org/arts-culture/sports/not-actually-12-big-12-tournament/ .

Laura Spencer, “The Nelson-Atkins’ Bloch Galleries feature Old Masterworks and New Technology,” KCUR (March 10, 2017): http://kcur.org/post/nelson-atkins-bloch-galleries-feature-old-masterworks-and-new-technology#stream/0 .

Victoria Stapley-Brown, “Nelson-Atkins Museum’s new European art galleries come with a “love story”,” Art Newspaper (March 10, 2017): http://theartnewspaper.com/news/museums/nelson-atkins-museum-s-new-european-art-galleries-come-with-a-love-story/ .

Harry Bellet, “Don du ciel pour le Musée Nelson-Atkins,” Le Monde (March 13, 2017): http://www.lemonde.fr/arts/article/2017/03/13/don-du-ciel-pour-le-musee-nelson-atkins_5093543_1655012.html .

Menachem Wecker, “Jewish Philanthropist Establishes Kansas City as Cultural Mecca,” Forward (March 14, 2017): http://forward.com/culture/365264/jewish-philanthropist-establishes-kansas-city-as-cultural-mecca/ [repr. in Menachem Wecker, “Kansas City Collection Is A Chip Off the Old Bloch,” Forward (March 17, 2017): 20-22], as Rue Saint-Honoré, Sun Effect, Afternoon.

Juliet Helmke, “The Bloch Collection Takes up Residence in Kansas City’s Nelson Atkins Museum,” BoulinArtInfo International, (March 15, 2017): http://www.blouinartinfo.com/news/story/2005267/the-bloch-collection-takes-up-residence-in-kansas-citys?utm_source=Blouin+Artinfo+Newsletters&utm_campaign=a2555adf27-Daily+Digest+03.16.2017+-+8+AM&utm_medium=email&utm_term=0_df23dbd3c6-a2555adf27-83695841 .

Erich Hatala Matthes, “Digital replicas are not soulless – they help us engage with art,” Apollo (March 23, 2017): https://www.apollo-magazine.com/digital-replicas-3d-printing-original-artworks/ .

Louise Nicholson, “How Kansas City got its magnificent museum,” Apollo (April 7, 2017): https://www.apollo-magazine.com/how-kansas-city-got-its-magnificent-museum/ .

Lilly Wei, “Julián Zugazagoitia: ‘Museums should generate interest and open a door that leads to further learning,’” Studio International (August 21, 2017): http://studiointernational.com/index.php/julian-zugazagoitia-director-nelson-atkins-museum-of-art-kansas-city-interview .

Anne-Birgitte Fonsmark and et. al., Gauguin e gli impressionisti: capolavori dalla Collezione Ordrupgaard (Venezia: Marsilio, 2018), 148n4, as La Rue Saint-Honoré, Effet de Soleil, Après-Midi.

Robert D. Hershey Jr., “Henry Bloch, H&R Block’s cofounder, dies at 96,” Boston Globe (April 23, 2019): https://www3.bostonglobe.com/metro/obituaries/2019/04/23/henry-bloch-block-cofounder/?arc404=true .

Robert D. Hershey Jr., “Henry W. Bloch, Tax-Preparation Pioneer (and Pitchman), Is Dead at 96,” New York Times (April 23, 2019): https://www.nytimes.com/2019/04/23/obituaries/henry-w-bloch-dead.html .

Claire Selvin, “ Henry Wollman Bloch, Collector and Prominent Benefactor of Nelson-Atkins Museum of Art, Is Dead at 96,” ArtNews (April 23, 2019): http://www.artnews.com/2019/04/23/henry-bloch-dead-96/ .

Eric Adler and Joyce Smith, “Henry Bloch, co-founder of H&R Block, dies at 96,” Kansas City Star 139, no. 219 (April 24, 2019): 1A.

“Henry Wollman Bloch (1922-2019),” Art Forum (April 24, 2019): https://www.artforum.com/news/henry-wollman-bloch-1922-2019-79547 .

Frank Morris, “ Henry Bloch, Co-Founder Of H&R Block, Dies At 96,” npr.org (April 24, 2019): https://www.npr.org/2019/04/24/716641448/henry-bloch-co-founder-of-h-r-block-dies-at-96 .

Ignacio Villarreal, “Nelson-Atkins mourns loss of Henry Bloch,” ArtDaily.org (April 24, 2019): http://artdaily.com/news/113035/Nelson-Atkins-mourns-loss-of-Henry-Bloch#.XMB76qR7laQ .

Eric Adler and Joyce Smith, “H&R Bloch co-founder, philanthropist Bloch dies,” Cass County Democrat Missourian 140, no. 29 (April 26, 2019): 1A

Eric Adler and Joyce Smith, “KC businessman and philanthropist Henry Bloch dies,” Lee’s Summit Journal 132, no. 79 (April 26, 2019): 3A, (repro.).

Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 225 (April 30, 2019): 4A [repr. Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” The Kansas City Star 139, no. 228 (May 3, 2019): 3A].

Eric Adler, “Sold for $3.25 million, Bloch’s home in Mission Hills may be torn down,” Kansas City Star 141, no. 90 ( December 16, 2020): 2A.

Christophe Duvivier and Josef Helfenstein, eds., Camille Pissarro: The Studio of Modernism, exh. cat. (Munich: Prestel, 2021), 145, 189, 317.

Brigid M. Boyle, “Camille Pissarro, Paris, Rue Saint-Honoré, Sun Effect, Afternoon, 1898,” catalogue 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, 2022), https://doi.org/10.37764/78973.5.650.5407.

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