The Red Cliff
Overall (3/4" hanging string): 58 x 17 3/8 inches (147.32 x 44.15 cm)
Chinese Landscape Painting, Cleveland Museum of Art, November 4-December 26, 1954.
The Art of Southern Sung China, Asia House Gallery, New York, February 15-April 15, 1962.
Album Leaves, China Institute in America, New York, March 25-May 30, 1970.
Eight Dynasties of Chinese Painting, Nelson-Gallery-Atkins Museum, Kansas City, November 7, 1980 – January 4, 1981; The Cleveland Museum of Art, February 7 – April 5, 1981; The Asia Society, December 3, 1981 – February 28, 1982; Tokyo National Museum, October 4 – November 17, 1982, no. 37.
Senses and Sensibilities in Chinese Painting, The Nelson-Atkins Museum of Art, December 14, 2008- February 15, 2009.
Masterpieces of Early Chinese Painting and Calligraphy in American Collections, Shanghai Museum, October 16, 2012- January 17, 2013, no. 16.5.
Hayasaki Kokichi (1874-1956) [1];
With Michelangelo Piacentini (d. 2005), Tokyo, by 1949 [2];
Purchased from Piacentini by The Nelson-Atkins Museum of Art, Kansas City, MO, 1949.
NOTES:
[1] Hayasaki Kokichi was an artist, photographer and collector, who served as a purchasing agent in China for the Museum of Fine Arts, Boston, during the 1910s.
[2] Piacentini was an Italian art historian based in Tokyo after the Second World War. He studied Italian Renaissance art, while collecting and dealing in Asian objects.
Toso Gemmin Meigwa Taikwan, vol. I, Tokyo Imperial Museum (1929), pl. 76.
Nihonga taisei, vol. L (Tokyo: Toho Shoin, 1931-1934), pl. 53.
Osvald Siren, History of Early Chinese Painting, vol. I (1933), pl. 71.
Kinjiro Harada, The Pageant of Chinese Painting (Tokyo: The Otsuka-Kogeia, 1936), pl. 140
Nihon genzai shina (Tokyo: Otsuka Kongeisha, 1938), 42. (Is this Nihon genzai Shina meiga mokuroku by Kinjiro Marada, or by Taneyoshi Harada?)
William Cohn, Chinese Painting (London: Phaidon Press, 1948), pl. 120.
Judith Burling, Arthur Hart Burling, Chinese Art (New York: 1953), pl. 111.
Osvald Siren, Chinese painting: leading Masters and Principles (1956-1958), vol. II, 128; vol. III, pl. 313.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959),199.
Shermen E Lee, Chinese Landscape (1962), 30, no. 21.
James Cahill, “ Plum Tree….. Water Buffalo” Art news, vol. LX, no. 10 (February, 1962), 26-29, 49-50.
Horizon (1969), 301.
James Cahill, Southern Sung The Art of Southern Sung China, Asia House Gallery, (New York: 1962) 54, no. 22, ill. 55.
Album Leaves, China Institute in America, (New York: 1970), 56, no. 17.
Robert Maeda, “Water Theme in Chinese Painting, “ Artibus Asiae, vol. XXXIII, no. 4 ( 1971), pl. 41.
Terukazu Akiyama, Chugoku bijutsu[ Arts of China] (1972-1973), vol. I, pl. 17.
Ross E. Taggart, George L. McKenna, and Marc F. Wilson, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. II, Art of the Orient. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 54.
Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art. (The Cleveland Museum of Art in cooperation with Indiana University Press, c1980), 54, no. 37.
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), 317.
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), 345, fig. 190.
Shanghai bo wu guan, Masterpieces of Early Chinese Painting and Calligraphy in American Collections, Shanghai Museum, (Beijing shi: Beijing da xue chu ban she, 2012), 309, no. 16.5.
