Olive Trees
Framed: 37 3/4 x 45 1/2 x 2 inches (95.89 x 115.57 x 5.08 cm)
- 127
Possibly paintings by Vincent van Gogh, Theo van Gogh’s apartment, 8, Cité
Pigalle, Paris, end of 1890.
Vincent Van Gogh
, Museum van Oudheden, Groningen, Netherlands, February 21-26, 1896, no.
40, as Oliviers.
van Gogh exhibition, Galerie Vollard, Paris, ca. December 1896-February
1897, no cat., no. 21, as Jardin des Oliviers.
VII. Jahrgang Frühjahr 1905: VII. Ausstellung
, Galerie Paul Cassirer, Berlin, April 29-ca. May 25, 1905, no. 23, as Olivenbäume.
Vincent van Gogh: Kollektiv-Ausstellung
, Galerie H. O. Miethke, Vienna, January 6-31, 1906, no. 44, as Olivenhain.
Internationalen Kunstschau
, Vienna, May-October 1909, room 14, no. 2, as Olivenhain.
Művészház nemzetközi impresszionista kiállításához
, Művészház, Budapest, April 24-June 19, 1910, room 7, no. 4, as Oliva-erdő.
Die Neue Kunst
, Galerie Miethke, Vienna, January-February 9, 1913, no. 19, as Olivenbäume.
A Köztulajdonba vett Műkincsek Elsö Kiállitása
, Műcsarnok, Budapest, May-July 1919, room 6, no. 7, as Olajerdö.
One Hundred Years of French Painting 1820-1920
, The Nelson-Atkins Museum of Art, Kansas City, MO, March 31-April 28,
1935, no. 64, as The Olive Grove.
Possibly Vincent Van Gogh, The Nelson-Atkins Museum of Art, Kansas
City, MO, June 12-July 10, 1936, hors cat., as Olive Grove.
The Art and Life of Vincent van Gogh: A Loan Exhibition in Aid of
American and Dutch War Relief
, Wildenstein, New York, October 6-November 7, 1943, no. 48, as The Olive Trees.
Paintings by Vincent Van Gogh
, John Herron Museum of Art, Indianapolis, November 14-December 12, 1943,
hors cat.
Loan Exhibition of Great Paintings: Five Centuries of Dutch Art
[Exposition de Tableaux Célèbres: Cinq Siècles d’Art Hollandais]
, Art Association of Montreal, Canada, March 9-April 9, 1944, no. 129, as The Olive Trees, Les Oliviers.
Revolutionaries in Art: 1846-1946
, Denver Art Museum, November 8-30, 1946, no cat.
A Loan Exhibition of Six Masters of Post-Impressionism: Benefit of Girl
Scout Council of Greater New York
, Wildenstein, New York, April 8-May 8, 1948, no. 67, as The Olive Grove.
Work by Vincent Van Gogh
, Cleveland Museum of Art, November 3-December 12, 1948, no. 22, as The Olive Trees (Les Oliviers).
Twentieth Anniversary Exhibition: The Beginnings of Modern Painting,
France 1800-1910
, Joslyn Memorial Art Museum, Omaha, NE, October 4-November 4, 1951,
unnumbered, as The Olive Grove.
Twenty Years of Collecting
, The Nelson-Atkins Museum of Art, Kansas City, MO, December 11-31, 1953,
no cat.
Painters’ Painters
, Buffalo Fine Arts Academy, Albright Art Gallery, Buffalo, NY, April
16-May 30, 1954, no. 29, as The Olive Grove.
Van Gogh: Loan Exhibition For the Benefit of The Public Education
Association
, Wildenstein, New York, March 24-April 30, 1955, no. 51, as The Olive Trees.
Possibly Cubists, Fauves, and Impressionists, Denver Art Museum,
October 1-November 18, 1956, no cat.
Vincent Van Gogh: A Loan Exhibition of Paintings and Drawings
, Los Angeles Municipal Art Gallery, July 3-August 4, 1957, no. 14, as The Olive Trees.
An Inaugural Exhibition: El Greco, Rembrandt, Goya, Cézanne, Van Gogh,
Picasso
, Milwaukee Art Institute, September 12-October 20, 1957, no. 79, as Olive Grove.
Twenty-fifth Anniversary Exhibition
, The Nelson-Atkins Museum of Art, Kansas City, MO, December 1958, hors
cat.
The Logic of Modern Art: An Exhibition Tracing the Evolution of Modern
Painting from Cezanne to 1960
, The Nelson-Atkins Museum of Art, Kansas City, MO, January 19-February 26,
1961, no. 7, as The Olive Grove.
Homage to Effie Seachrest
, The Nelson-Atkins Museum of Art, Kansas City, MO, August 25-October 9,
1966, no. 10, as The Olive Grove.
Vincent van Gogh Exhibition
, The National Museum of Western Art, Tokyo, October 12-December 8, 1985;
Nagoya-City Museum, December 19, 1985-February 2, 1986, no. 82, as Olive Orchard.
Van Gogh in Saint-Rémy and Auvers
, The Metropolitan Museum of Art, New York, November 25, 1986-March 22,
1987, no. 12, as Olive Orchard.
Impressionism: Selections from Five American Museums
, The Carnegie Museum of Art, Pittsburgh, November 4-December 31, 1989; The
Minneapolis Institute of Arts, January 27-March 25, 1990; The Nelson-Atkins
Museum of Art, Kansas City, MO, April 21-June 17, 1990; The Saint Louis Art
Museum, July 14-September 9, 1990; The Toledo Museum of Art, September
30-November 25, 1990, no. 36, as Olive Orchard.
Vincent van Gogh and the Painters of the Petit Boulevard
, The Saint Louis Art Museum, February 17-May 13, 2001; Städelsches
Kunstinstitut und Städtische Galerie, Frankfurt, June 8-September 2, 2001,
unnumbered, as Olive Orchard.
l’Oro e l’Azzurro: I colori del Sud da Cézanne a Bonnard
, Casa dei Carraresi, Treviso, October 10, 2003-March 7, 2004, no. 23, as Ulivi.
Gauguin and the Origins of Symbolism
, Museo Thyssen-Bornemisza, Madrid, September 28, 2004-January 9, 2005, no.
70, as Olive Grove [Les oliviers].
Van Gogh: Heartfelt Lines
, Albertina, Vienna, September 5-December 8, 2008, no. 115, as Olive Orchard.
Vincent Van Gogh: Between Earth and Heaven; The Landscapes , Kunstmuseum Basel, Switzerland, April 26-September 27, 2009, no. 51, as Olive Orchard.
Van Gogh and the Olive Groves, Dallas Museum of Art, Dallas, TX, October 17-February 6, 2021-2022.
Van Gogh in America, Detroit Institute of Arts, Detroit, MI, October 2-January 22, 2022-2023.
Van Gogh: Poets and Lovers, The National Gallery, London, UK, September 14-January 19, 2024-2025.
This painting comes from a series of 15 canvases that Vincent van Gogh dedicated to the subject of olive trees during his stay at the asylum of Saint-Rémy-de-Provence, where he committed himself after suffering a series of breakdowns. When free to wander the countryside, he explored the region's olive groves. "The murmur of an olive grove," he wrote to his brother Theo, "has something very intimate, immensely old about it."
The artist's animated brushwork and stylized passages of broken color suggest that he painted the scene directly from nature. They communicate the essence of olive trees with their twisting trunks and heavy canopy in the light of southern France.
With the artist, Saint-Rémy-de-Provence, France, until September 20 or 28, 1889 [1];
To his brother, Theo van Gogh (1857-1891), Paris, 1889-January 25, 1891
[2];
Inherited by his widow, Johanna van Gogh-Bonger (1862-1925), Bussum and Amsterdam, The Netherlands, stock no. 147, asOliviers /30/effet du matin, 1891-May 25/June 1905 [3];
Purchased from Bonger by Kunstsalon Paul Cassirer, Berlin, stock no. 6588, as Olivenbaume, May 25/June 1905 [4];
Purchased from Cassirer by Carl Moll (1861-1945) for the Galerie H. O. Miethke, Vienna, May 25, 1905-at least January 1906 [5];
Purchased from the Galerie Miethke by Baron Adolf Kohner (1865/6-1937), Budapest, inventory no. K. 27, as Olajerdő, by April 24, 1910-October 7, 1930 [6];
[Possibly purchased from Kohner by] Paul Rosenberg and Co., Inc., Paris, London, and New York, no. 2854, as Les oliviers, by October 7, 1930-January 23, 1932 [7];
Purchased half-share from Rosenberg by Durand-Ruel, Paris, for Durand-Ruel, New York, stock no. 5169, as Les Oliviers, October 7, 1930-January 23, 1932 [8];
Purchased remainder of share from Rosenberg by Durand-Ruel, New York, January 23, 1932 [9];
Purchased from Durand-Ruel, through Harold Woodbury Parsons and Effie Seachrest, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1932 [10].
NOTES:
[1] The artist may have sent the painting to his brother and dealer on or about September 20 or more likely on September 28, 1889. Letters from Vincent van Gogh, Saint-Rémy-de-Provence, to his brother, Theo van Gogh, on or about September 20, 1889, and September 28, 1889, Van Gogh Museum, Amsterdam, inv. nos. b655 a-b V/1962 and b656 V/1962; pub. in Leo Jansen, Hans Luijten, and Nienke Bakker, eds., Vincent Van Gogh: The Letters; The Complete Illustrated and Annotated Edition , vol. 5 (London: Thames and Hudson, 2009), letter nos. 805 and 806, pp. 100-11.
[2] Van Gogh viewed the consignments of paintings he sent to his brother and dealer, Theo van Gogh, as remuneration for the latter’s financial support. Letter from Vincent van Gogh, Nuenen, to his brother, Theo van Gogh, on or about March 20, 1884, Van Gogh Museum, Amsterdam, inv. nos. b398 V/1962 (sheet 1) and b397 d V/1962 (sheet 2); pub. in Leo Jansen, Hans Luijten, and Nienke Bakker, eds., Vincent Van Gogh: The Letters; The Complete Illustrated and Annotated Edition , vol. 3 (London: Thames and Hudson, 2009), letter no. 440, pp. 138-40.
[3] Although, formally speaking, Vincent Willem van Gogh (1890-1978) was joint owner of the Van Gogh collection from 1891, his mother, Johanna van Gogh-Bonger, managed the collection until her death in 1925. See the inventory of van Gogh’s works then in van Gogh-Bonger’s collection, Andries Bonger, “Catalogue des œuvres de Vincent van Gogh,” 1891, Brieven en Documenten, b 3055 V/1962 (document),Van Gogh Museum, Amsterdam, no. 147, as Oliviers /30/effet du matin. For the Cassirer exhibition, see Johanna van Gogh-Bonger, “List of 30 titles and prices of paintings by Vincent van Gogh, made for Cassirer, April 1905,” Van Gogh Museum, Amsterdam, Brieven en Documenten, 1905 b 2185 V/1982 (document, inkt, potlood, papier), no. 14-147, as Olijfbomen. Cassirer records the purchase of the canvas from Johanna on May 25, 1905 [see note 4], but Johanna records the sale of the canvas to Cassirer in her account book for the month of June 1905; see Theo van Gogh and Johanna van Gogh-Bonger, “Account book of Theo van Gogh and Johanna van Gogh-Bonger, May 21 1889-January 25, 1925,” Van Gogh Museum, Amsterdam, Brieven en Documenten, b 2205 V/1982 (boek, inkt op papier), p. 14 line no. 10, stock no. 4, as Olijven, and p. 89 line no. 21, as “ontvangen van Paul Cassirer te Berlijn voor 8 gr. En 1 kl. schilderij.” Copies in NAMA curatorial files.
[4] See Kunstsalon Paul Cassirer Berlin, Einkaufsbücher (3) 1903-1919 [book of purchases], May 25, 1905, Paul Cassirer-Walter Feilchenfeldt Archiv, Zurich, p. 44, stock no. 6588, as Olivenbäume. Kunstsalon Paul Cassirer Berlin, Verkaufsbuch (1) October 2, 1903-April 28, 1910 [stock book of sales], May 1905, Paul Cassirer-Walter Feilchenfeldt Archiv, Zurich, p. 102?, stock no. 6588?.
[5] Call Moll was the artistic director of Galerie H. O. Miethke from 1904-1912.
[6] According to the verso of Kohner’s stock card (in a private collection, Hungary), the painting was “Vétetett a bécsi Galerie Miethke-cégtől.” We take this to mean that Kohner bought the painting from Galerie Miethke in Vienna. See correspondence from Péter Molnos, art historian, Budapest, to Meghan Gray, NAMA, October 4, 2017, NAMA curatorial file. See also inventory case K. 27, inventory loose card reproduced in Judit Geskó, ed., Van Gogh in Budapest, exh. cat. (Budapest: Museum of Fine Arts, 2006), 149. Kohner was a regular patron of Galerie Miethke and sold his Old Master collection in March 1908 in order to collect modern artists.
Kohner’s birthdate is unclear: The year 1866 is given in Péter Molnos, Lost Heritage: Hungarian Art Collectors in the Twentieth Century (Budapest: Kieselbach Gallery and Auction House, 2018), 92; the year 1865 is given in Ilona Sármány-Parsons, “Notes on Patronage of Modernism in the Fine Arts in Vienna and Budapest at the Turn of the Century,” CEU History Department Yearbook (1993): 151.
In his 1928 catalogue raisonné, J. B. de la Faille erroneously lists Galerie d’Art Barbazanges, Paris, as a constituent, an error that has persisted in other catalogues. See L’Œuvre de Vincent Van Gogh: Catalogue Raisonné (Paris: Éditions G. Van Oest, 1928), no. 715, pp. 1:203. The Galerie operated from ca. 1910/1911 until ca. 1929, during the time that Adolf Kohner is documented to have owned the painting.
[7] According to Péter Molnos, the painting was exported from Budapest on October 8, 1930, and was likely sent to Paul Rosenberg in Paris. See Péter Molnos, Aranykorok Romjain: Tanulmányok A Modern Magyar Festészet és Műgyűjtés Történetéből a Kieselbach Galéria Alapításának Huszadik Évfordulójá (Budapest: Kieselbach Galéria Kereskedelmi Kft., 2015), 107. See also no. 362, Central Archives, Museum of Fine Arts, Budapest, list of items exported from Budapest, no. 1930/ 3-23., 8 October 1930. Thanks to Péter Molnos for providing a scan of this document, which says, “Bejelentése alapján / K. föigazgató ni. 362. Dr. Kohner Adolf br. (Damjanich-n. / 20.) Izignálatlan Van Gogh-féle Olajerdő / c. festményre (Franciaországba ?) x/8”. See The Paul Rosenberg Archives, a Gift of Elaine and Alexandre Rosenberg, III.D, Rosenberg Galleries: Miniature Photo and Card Index, ca. 1910-1987, and IV.A.I.a, Liste de Photographies, Paris, [1917-1939] [1940-present], The Museum of Modern Art, New York. According to Ilda François, secretary to Elaine Rosenberg, Paul Rosenberg must have purchased the painting between June 1929 and November 1930; the exact purchase date is unknown. See also 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. Durand-Ruel says that Rosenberg purchased the painting for 104,000 Pengos, which was the official Hungarian currency; therefore it is possible that Rosenberg purchased the painting directly from Kohner.
[8] 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. Durand-Ruel erroneously records the purchase of the painting by the Kansas City Art Institute. Actually, the painting was sent on approval to NAMA from March 18, 1931 until its purchase in January 1932, where it was placed on view at the Kansas City Art Institute since the museum was not yet built. At this time, a petition spearheaded by local dealer Effie Seachrest (1869-1952) was signed by about 135 people encouraging the museum to purchase the work. See “Petition to purchase Van Gogh Olive Orchards,” ca. April 21, 1931, NAMA Archives, William Rockhill Nelson Trust Office Records (RG 80/05), Series II: Objects Offered, 1926-33, box 7, folder 12, Durand-Ruel, 1931-32; and letter from J. C. Nichols to Sybil Brelsford, July 21, 1931, NAMA Archives, William Rockhill Nelson Trust Office Records (RG 80/05), Series I: General Correspondence and Records, 1926-33, box 6, folder 21, University Trustees 1931, f. 2. See also “Pictures remaining in the Art Institute after May 20, 1932,” May 20, 1932, NAMA Archives, William Rockhill Nelson Trust Office Records 1926-33, RG 80/05, Series I, box 02, folder 17, Exhibition at the Kansas City Art Institute, 1932.
[9] See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel et Cie., Paris, to Meghan Gray, NAMA, February 5, 2016, NAMA curatorial file.
[10] “The offer [to Durand-Ruel] was made in answer to petitions to the Trustees signed by at least two hundred admirers urging the purchase of this picture” [see footnote 8]. See “University Trustees Meeting Minutes,” January 12, 1932, NAMA Archives, William Rockhill Nelson Trust Office Records (RG 80/05), Series I: General Correspondence and Records, 1926-33, box 6, folder 20, University Trustees 1932.
Possibly Frederik van Eeden, "Kunst: Vincent van Gogh," De Nieuwe Gids, year 6, vol. 1, issue 2 (December 1890): 268-69 [repr. in Frederik van Eeden, Studies, tweede reeks (Amsterdam: W. Versluys, 1894), 107].
Vincent van Gogh, exh. cat. ([Groningen: Museum van Oudheden], 1896), 2, as Oliviers.
VII. Jahrgang Frühjahr 1905: VII. Ausstellung , exh. cat. (Berlin: Paul Cassirer, 1905), unpaginated, as Olivenbäume.
E[gbert] D[elpy], "Salon Cassirer," Berliner Lokal-Anzeiger, no. 233 (May 16, 1905), as Olivenbäume.
August Endell, "Vincent van Gogh," Freistatt, no. 24 (June 17, 1905): 379, as Olivenwald [repr. in Susan Alyson Stein, ed., Van Gogh: A Retrospective (New York: Hugh Lauter Levin Associates, 1986), 331].
Hugo von Habermann, Vincent van Gogh: Kollektiv-Ausstellung, exh. cat. (Vienna: Galerie H. O. Miethke, 1906), 15, as Olivenhain.
L[udwig] H[eves]i, "Aus dem Wiener kunstleben: Vincent van Gogh; Die Scholle," Pester Lloyd, no. 15 (January 18, 1906): 5, as Olivenhain.
Ludwig Hevesi, Altkunst- Neukunst: Wien 1894-1908 (1909; repr. Klagenfurt, Austria: Ritter Verlag, 1986), 527-29, as Olivenhain.
Katalog der Internationalen Kunstschau Wien 1909, exh. cat. (Vienna: Arbeitsausschuss der Internationalen Kunstschau, 1909), 27, as Olivenhain.
Miklós Rózsa, ed., Kalauz a Művészház nemzetközi impresszionista kiállításához, exh. cat. (Budapest: Művészház, 1910), 51, (repro.), as Oliva-erdő.
h. ö, "Budapesti magángyűjtemények. I. Dr. Kohner Adolf [Private Collections in Budapest. I. Dr. Adolf Kohner]," Pesti Napló (April 22, 1910): 12, as Tájkép [repr. Péter Molnos, Lost Heritage: Hungarian Art colelctors in the Twentieth Century (Budapest: Kieselbach Gallery and Auction House, 2018), 136, as Landscape].
Simon Meller, "Kohner Adolf Művészeti Gyűjteménye," Vasárnapi Ujság 58, no. 18 (April 30, 1911): 354, 363, (repro.), as olivaerdejével.
Didier Rózsaffy, "Une visite à la Collection de M. le Dr. Kohner", Revue de Hongrie 7, no. 6 (June 15, 1911): 711, as Forêt d'oliviers.
Hugo Haberfield, "Die französischen Bilder der Sammlung Kohner," Der Cicerone: Halbmonatsschrift für die Interessen des Kunstforschers und Sammlers 3, no. 15 (August 1911): 589, as Olivengarten.
"Magyar amatőrök I. Dr. Kohner Adolf," Interieur: a kávéház és lakóház: szak- és iparművészeti képes folyóirat 1, no. 4 (March 15, 1912), 5.
Die Neue Kunst, exh. cat. (Vienna: Galerie Miethke, 1913), unpaginated, as Olivenbäume.
József Patai, "Báró dr. Kohner Adolf műgyűjteménye," Múlt és Jövő 4 (July 1914): 361, 375, (repro.).
A Köztulajdonba vett Műkincsek Elsö Kiállitása, exh. cat. (Budapest: Műcsarnok, 1919), 44, as Olajerdö.
Éber László, "Van Gogh tragikuma," Ars Una: Müvészeti szemle 1, no. 1 (October 1923): 27, (repro.), as Olajerdö.
Éber László, Vincent Van Gogh Levelei (Budapest: Amicus Kiadás, 1924), (repro.).
Ferenc Lehel, Ecce Criticus: Kritikakritika (Budapest: Ferenc Lehel, 1924), (repro.), as Kert Olajfákkal.
Possibly "Courrier de la Presse: Van Gogh a [sic] l'asile de Saint-Rémy," Le Bulletin de la vie artistique 7, no. 16 (August 15, 1926): 251.
François Lehel, Notre Art Dément: Quatre Études sur l'Art Pathologique (Paris: J. Povolozky et Cie, 1926), (repro.).
J.-B. De La Faille, L'Œuvre de Vincent Van Gogh: Catalogue Raisonné (Paris: Éditions G. Van Oest, 1928), no. 715, pp. 1:203, 2pt2: (repro.), as Les oliviers.
Chroniquer, "A műgyűjtő: Báró Kohner Adolf gyűjteménye," Képzőművészet 3, no. 16 (January 1929): 9-17.
Elek Petrovics, "Báró Kohner Adolf Gyüjteménye," Magyar Müvészet 5, no. 6 (1929): 319, 321, (repro.), as Olajerdő.
"Dine with Art Trustees: Institute Board Bids Others to Annual Meeting Tonight," Kansas City Times 94, no. 81 (April 4, 1931): 2.
"In Gallery and Studio," Kansas City Star 51, no. 199 (April 4, 1931): E.
"Buys an 1889 Painting: Nelson Gallery Gets its First 'Modern' Canvas," Kansas City Star 52, no. 155 (February 19, 1932): 2, as The Olive Grove.
Art News 30, no. 21 (February 20, 1932): 10, (repro.), as Les Oliviers.
"The First Modern Master," Kansas City Star 52, no. 156 (February 20, 1932): D, as The Olive Grove.
"Nelson Trust Buys a van Gogh," New York Times 81, no. 27,056 (February 21, 1932): 1-10, as Les Oliviers.
"Kansas City Acquires a Memorable Van Gogh," Art Digest, 6, no. 11 (March 1, 1932): 8, (repro.), as Les Oliviers.
M[inna] K. P[owell], "Art: Mr. Parsons Will Be Heard Thursday Night on 'The Italian Renaissance;' What Is to Be Seen in the Group of Recently Acquired Paintings for the William Rockhill Nelson Gallery of Art Was Told the Hospitality Committee Yesterday by Him," Kansas City Times 95, no. 88 (April 12, 1932): 10.
"Kansas City Adds Important Works to its Holdings," Art News 30, no. 30 (April 23, 1932): 8, as Les Oliviers.
W. Scherjon, Catalogue des Tableaux par Vincent Van Gogh décrits dans ses lettres-Périodes: St. Rémy et Auvers sur Oise (Utrecht: Société d'Editions A. Oosthoek, 1932), 20, 55-56, 78, 80-81, (repro.), as Oliviers.
"In Gallery and Studio," Kansas City Star 53, no. 266 (June 10, 1933): 4.
M[inna] K. P[owell], "In Gallery and Studio," Kansas City Star 54, no. 62 (November 18, 1933): 12.
Mrs. Henry Field, "'the social whirl'…" Chicago Herald and Examiner 52, no. 173 (November 30, 1933): 25.
Thomas Carr Howe, "Kansas City Has Fine Art Museum: Nelson Gallery Ranks with the Best," [unknown newspaper] (ca. December 1933), clipping, scrapbook, NAMA Archives, vol. 5, p. 6.
"Nelson Gallery of Art Special Number," Art Digest 8, no. 5 (December 1, 1933): 14, 22-23, (repro.), as The Olive Grove and Les Oliviers.
Pierre Domène, "Le nouveau musée de Kansas City," Beaux-Arts 72, no. 48 (December 1, 1933): 2.
"The William Rockhill Nelson Gallery of Art, Kansas City Special Number,"Art News 32, no. 10 (December 9, 1933): 28, 30, 46, (repro.), as Olive Grove and Les Oliviers.
Minna K. Powell, "The First Exhibition of the Great Art Treasures: Paintings and Sculpture, Tapestries and Panels, Period Rooms and Beautiful Galleries Are Revealed in the Collections Now Housed in the Nelson-Atkins Museum," Kansas City Star 54, no. 84 (December 10, 1933): 4C, as The Olive Orchard.
"$15,000,000 Nelson Art Gallery Opens: Gift of Kansas City Star Publisher," Boston Evening Transcript 104, no. 288 (December 11, 1933): 11.
"Art Critics View Nelson Gallery: Preview of Edifice, Costing $15,000,000 With Contents, Held at Kansas City," New York Times 83, no. 27,715 (December 11, 1933): 24.
"Nelson Gallery of Art Opened at Kansas City: $14,000,000 Gift of 'Star' Publisher and His Heirs Already Fully Furnished," New York Herald Tribune 93, no. 31,802 (December 11, 1933): 12.
Luigi Vaiani, "Art Dream Becomes Reality with Official Gallery Opening at Hand: Critic Views Wide Collection of Beauty as Public Prepares to Pay its First Visit to Museum," Kansas City Journal-Post 80, no. 187 (December 11, 1933): 7, as Olive Grove.
George H. Leonard, "Art and Life," Holyoke [MA] Daily Transcript; The Holyoke Telegram, no. 16,200 (December 16, 1933): 8.
"Nelson Gallery of Art Opens," Editor and Publisher 66, no. 31 (December 16, 1933): 10.
Paul V. Beckley, "Art News," Kansas City Journal Post 80, no. 193 (December 17, 1933): 2C.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1933), 55, (repro.), as The Olive Grove.
A. J. Philpott, "Kansas City Now in Art Center Class: Nelson Gallery, Just Opened, Contains Remarkable Collection of Paintings, Both Foreign and American," Boston Sunday Globe 125, no. 14 (January 14, 1934): 16.
"A Gift to Art Gallery," Kansas City Star 54, no. 119 (January 14, 1934): 12A, as Olive Grove.
M[inna] K. P[owell], "Cezanne [sic] and the Patches of Color by Which He Transformed Modern Art," Kansas City Star 54, no. 120 (January 15, 1934): [16]D, as Olive Grove.
Jenő Bálint, "Kohner Adolf teljesen összetört …," [or title might be "Báró Kohner Adolf európai hírű műkincsei az árverelő kalapács alatt… ,"] A Reggel 13 (February 19, 1934): [7-8?].
Imre Fazekas, "Beszélgetés báró Kohner Adolffal- a Kohner-aukció után," Pesti Napló (March 4, 1934): 8.
"Form Lost in Paintings: Paul Gardner Explains Work of the Impressionists," Kansas City Times 97, no. 64 (March 15, 1934): 9, as The Olive Orchard.
"Art Talk to Teachers: Value of the Nelson Gallery to Kansas City Is Stressed," Kansas City Star 54, no. 217 (April 22, 1934): 5B, Olive Grove.
"A Thrill to Art Expert: M. Jamot is Generous in his Praise of Nelson Gallery," Kansas City Times 97, no. 247 (October 15, 1934): 7.
"In Gallery and Studio: News and Views of the Week in Art," Kansas City Star 55, no. 32 (October 19, 1934): 18, as Olive Grove.
"Museums, Art Associations and Other Organizations," in "For the Year 1933," American Art Annual 30 (1934): 175, as The Olive Grove.
One Hundred Years French Painting, 1820-1920 , exh. cat. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1935), unpaginated, as Olive Grove.
"The Olive Grove," News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 1, no. 8 (March 10-30, 1935): 2, as The Olive Grove.
"Van Gogh's 'The Olive Grove' Is the Masterpiece for Week," Kansas City Journal-Post 81, no. 183 (March 24, 1935): 8-B, (repro.), as The Olive Grove.
P[aul] V. B[eckley], "Art News," Kansas City Journal-Post 81, no. 197 (April 7, 1935): 8-B, as Olive Grove.
P[aul] V. B[eckley], "Art News," Kansas City Journal-Post 81, no. 211 (April 21, 1935): 8-B, as Olive Orchard.
"French Loan Exhibition Last Call," News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 1, no. 10 (April 21-May 3, 1935): 1, as The Olive Grove.
M[inna] K. P[owell], "In Gallery and Studio: News and Views of the Week in Art," Kansas City Star 55, no. 221 (April 26, 1935): 15, as The Olive Grove.
"News from Abroad," News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 1, no. 14 (September 1935): 3, as Olive Orchard.
"Moe Makers Are Busy: A Hundred Beaming Faces Hover Over Notebooks," Kansas City Star 56, no. 35 (October 22, 1935): 1, as Olive Grove.
"Gallery Links Abroad: Paul Gardner Tells of his Discoveries in Brussels," Kansas City Times 98, no. 261 (October 31, 1935): 3.
Alfred H. Barr, Jr., ed., Vincent van Gogh: With an introduction and notes selected from the letters of the artist , exh. cat., 3rd ed. (New York: Museum of Modern Art, 1936), 47, as Olive Trees.
"Van Gogh Exhibition," The Missouri Club Woman 11, no. 6 (June 1936): 11, as Olive Orchard.
"Van Gogh Exhibition," Clinton County Democrat 71, no. 10 (June 5, 1936): 1, as Olive Orchard.
"Van Gogh Art is Here: Million-Dollar Display Arrives Under Guard," Kansas City Star 56, no. 263 (June 6, 1936): 2, as The Olive Grove.
"Van Gogh Exhibition," News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 2, no. 13 (July 1-31, 1936): 1, as Olive Grove.
M[inna] K. P[owell], "Art: Van Gogh Paintings Will Remain One More Week at the Nelson Gallery Before Being Shipped to Minneapolis," Kansas City Times 99, no. 161 (July 6, 1936): 6, as The Olive Grove.
W. Scherjon and Jos. de Gruyter, Vincent van Gogh's Great Period: Arles, St. Rémy and Auvers sur Oise (Complete Catalogue) (Amsterdam: De Spieghel, 1937), part 2, St. Rémy no. 76, pp. 251, 268, 270-71, (repro.), as Olive Trees.
"Museum Directors Have to Play Detective Now and Then," Kansas City Star 58, no. 210 (April 15, 1938): 14.
"Club Women to Gallery: Art Collection Wins Praise of 745 Visitors," Kansas City Times 101, no. 116 (May 16, 1938): 8, as The Olive Grove.
"Important Gauguin Goes to Missouri Museum," Art Digest 13, no. 3 (November 1, 1938): 13, as Olive Grove.
"Footnotes," Lincoln (NE) Evening State Journal (December 2, 1938): 8.
J. D. W., "A Happier View of Van Gogh as Artist Absorbed in Work," Kansas City Star 59, no. 191 (March 27, 1939): D[16], as The Olive Grove.
J.-B. de la Faille, Vincent Van Gogh, trans. Prudence Montagu-Pollock (New York: French and European Publications, 1939), no. 641, p. 441, (repro.), as The Olive-Trees.
"Fun in a New Art Game: Children at Nelson Gallery Delight in Innovation," Kansas City Star 60, no. 364 (September 15, 1940): 6C, as The Olive Orchard.
H. C. H., "Art Judgments Are Governed Purely by Personal Factors: New Biographer of Vlaminck Points Out Fallacy of Expecting the Same Emotional Response from Different Individuals," Kansas City Star 62, no. 72 (November 28, 1941): 16, as Olive Orchard.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 41, 53, 168, (repro.), as The Olive Grove.
Georges de Batz, ed., The Art and Life of Vincent Van Gogh: Loan Exhibition in Aid of American and Dutch War Relief , exh. cat. (New York: Wildenstein, 1943), 36, 89, (repro.), as The Olive Trees.
"Gallery Changes: Gallery 19," Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts Museum) vol. 10, no. 3 (November 1943): 5.
Loan Exhibition of Great Paintings: Five Centuries of Dutch Art [Exposition de Tableaux Célèbres: Cinq Siècles d'Art Hollandais] , exh. cat. (Montreal: Art Association of Montreal, 1944), 58, 91, (repro.), as The Olive Trees, Les Oliviers.
Marco Valsecchi, Disegni di Vincent Van Gogh, 2nd ed. (Milan: Ulrico Hoepli, 1944), 19.
Edward Alden Jewell, Vincent Van Gogh (New York: Hyperion Press and Duell, Sloan and Pearce, 1946), 44, (repro.), as The Olive Grove.
Carl Nordenfalk, Vincent van Gogh: en livsväg, 2nd ed. (Stockholm: P.A. Norstedt och Söners Forlag, 1946), 150.
Eduard Briner, Vincent van Gogh: sechs farbige Wiedergaben seiner Werke (Zurich: Rascher, 1947), 15-16.
A Loan Exhibition of Six Masters of Post-Impressionism: Benefit of Girl Scout Council of Greater New York , exh. cat. (New York: Wildenstein, 1948), 67, 73, (repro.), as The Olive Grove.
Howard Devree, "Modern Retrospect: Work by Post-Impressionist Masters," New York Times 97, no. 32,950 (April 11, 1948): X 11, as Olive Grove.
"Gallery Notes," Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 14, no. 7 (May 1948): unpaginated, as Olive Grove.
Work by Vincent van Gogh , exh. cat. (Cleveland: Cleveland Museum of Art, 1948), 20, (repro.), as The Olive Trees (Les Oliviers).
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 3rd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1949), 67, (repro.), as The Olive Grove.
"Special Sunday Lecture," Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 18, no. 10 (November 1951): unpaginated, as Olive Grove.
Twentieth Anniversary Exhibition: The Beginnings of Modern Painting, France 1800-1910, exh. cat. (Omaha: Joslyn Memorial Art Museum, 1951), unpaginated, as The Olive Grove.
Winifred Shields, "The Twenty Best, a Special Exhibition at Nelson Gallery: Anniversary Will Be Observed by Showing of Paintings, Some Acquired Recently, Others Even Before the Institution Opened Two Decades Ago," Kansas City Star 74, no. 78 (December 4, 1953): 36, as The Olive Grove.
Painters' Painters, exh. cat. (Buffalo: Buffalo Fine Arts Academy, 1954), 41, 64-65, (repro.), as The Olive Grove.
Van Gogh: Loan Exhibition For the Benefit of The Public Education Association, exh. cat. (New York: Wildenstein, 1955), 23, 58, (repro.), as The Olive Trees.
Winfred Shields, "Special Showing Is Planned For Van Gogh Movie Here," Kansas City Star 76, no. 363 (September 14, 1956): 24, as The Olive Grove.
Ross E. Taggart, "Kansas City Art," Library Journal 82, no. 12 (June 15, 1957): 1596.
Vincent Van Gogh: A Loan Exhibition of Paintings and Drawings, exh. cat. (Los Angeles: Los Angeles Municipal Art Department, 1957), 17, 28, (repro.), as The Olive Trees.
An Inaugural Exhibition: El Greco, Rembrandt, Goya, Cézanne, Van Gogh, Picasso , exh. cat. (Milwaukee: Milwaukee Art Institute, 1957), 49, 54, (repro.), as Olive Grove.
Paul Mahlberg, Vincent van Gogh (1853-1890): Leben und Schaffen, exh. cat. (Essen, Germany: Villa Hügel, 1957), unpaginated.
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), 125, (repro.), as The Olive Grove.
The Logic of Modern Art: An Exhibition Tracing the Evolution of Modern Painting from Cezanne to 1960, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1961), 6, 16, (repro.), as The Olive Grove.
Robert Pearman, "Van Gogh Art Arrives," Kansas City Times 126, no. 26 (January 30, 1963): 8, (repro.), as The Olive Grove.
Homage to Effie Seachrest, exh. cat. (Kansas City, MO: Nelson Gallery-Atkins Museum, 1966), 4-5, 11, 13, (repro.), as The Olive Grove.
"Homage to Effie Seachrest," Gallery Events (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) (July-August 1966): unpaginated, as The Olive Grove.
The Independent 67, no. 34 (August 20, 1966): 19, as The Olive Grove.
Donald L. Hoffmann, "Effie Seachrest, a Little Lady Who Brought Great Art Here," Kansas City Star 86, no. 345 (August 28, 1966): 1E, as The Olive Grove.
F. Gribling, Detailed catalogue with full documentation of 272 works by Vincent van Gogh belonging to the collection of the State Museum Kröller-Müller, Otterlo , rev. ed. (Otterlo: State Museum Kröller-Müller, 1966), 95.
Paolo Lecaldano, L'opera pittorica completa di Van Gogh e i suoi nessi grafici, new series, vol. 2 (1966, 1971; repr., Milan: Rizzoli Editore, 1977), no. 734, pp. 222, 224, 237, (repro.), as Oliveto (con viottolo).
Marc-Edo Tralbaut, "Comment identifier Van Gogh?" Bulletin des Archives internationales de van Gogh, no. 1 (1967): 8, as Les oliviers.
Alan Bowness, Vincent van Gogh: Paintings and drawings from the collection of the Vincent van Gogh Foundation, Amsterdam, exh. cat. (London: Arts Council of Great Britain, Hayward Gallery, 1968), 111, 115.
Jean Leymarie, Who Was Van Gogh?, James Emmons, trans. (Geneva: Editions d'Art Albert Skira, 1968), 164.
J.-B. de la Faille, The Works of Vincent van Gogh: His Paintings and Drawings, rev. ed. (Amsterdam: Meulenhoff International, 1970), no. F 715 [H 641], pp. 276-77, 639, (repro.), as Olive Trees.
Mark Roskill, Van Gogh, Gauguin and French Painting of the 1880s: A Catalogue Raisonné of Key Works (Ann Arbor, MI: University Microfilms, 1970), 97.
Donald Hoffmann, "The Nelson Gallery: 40 Years (and More) Seeking Beauty," Kansas City Star 94, no. 83 (December 9, 1973): 1E, as Olive Grove.
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, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 164, (repro.), as The Olive Grove.
Jacques Lassaigne, Les impressionistes, vol. 1, Vincent Van Gogh (Milan: Fratelli Fabbri Editori, 1974), 95.
Jan Hulsker, Van Gogh en zijn weg: Al zijn tekeningen en schilderijen in hun samenhang en ontwikkeling (Amsterdam: Meulenhoff International bv, 1977), no. 1759, pp. 400, 403, 406-07, (repro.), as Olijfgaarde.
Robert H. Terte, "The Phenomenal Nelson Gallery," Antiques World 1, no. 3 (January 1979): 46.
Evert van Uitert, "Vincent van Gogh and Paul Gauguin in competition: Vincent's original contribution," Simiolus: Netherlands quarterly for the history of art 11, no. 2 (1980): 103n83.
Paul Aletrino, Tout Van Gogh 1888-1890, trans. Sylvie Desmaison (Paris: Flammarion, 1980), 50, 54, (repro.), as Les oliviers.
Jan Hulsker, The Complete Van Gogh: Paintings, Drawings, Sketches (New York: Harry N. Abrams, 1980), no. 1759, pp. 400, 406-07, 485n11a, (repro.), as Olive Orchard.
Éva Karádi, "Bankárok, filozófusok, forradalmárok: Eberhard Gothein levelei 1918-ból," Historia, no. 4 (1981): 26-28.
Bill Marvel, "How good is the Nelson?," STAR Magazine, supplement, Kansas City Star 103, no. 186 (April 24, 1983): 9, as Olive Grove.
Vincent van Gogh Exhibition, exh. cat. (Tokyo: Tokyo Shimbun, 1985), 199, 202, 226-27, 266, (repro.), as Olive Orchard.
Cathy Johnson, "Young at Art: Learning from the Masters," Artist's Magazine 3, no. 11 (November 1986): 86, (repro.), as Olive Grove.
Ronald Pickvance, Van Gogh in Saint-Rémy and Auvers, exh. cat. (New York: Harry N. Abrams, 1986), 16, 98-100, 102, 297-98, (repro.), as Olive Orchard.
Peter C. Sutton, A Guide to Dutch Art in America (Washington, DC: Netherlands-American Amity Trust, 1986), 122, 127, (repro.), as Olive Grove.
Donald Hoffmann, "Lucid artistry fled a mind's torment," Kansas City Star 107, no. 138 (March 1, 1987): 8F, as The Olive Orchard.
"Museums to Sports, KC Has It All," American Water Works Association Journal 79, no. 4 (April 1987): 133.
Stefano De Luca, ed., Vincent Van Gogh, exh. cat. (Milan: Arnoldo Mondadori Editore, 1988), unpaginated.
Walter Feilchenfeldt, Vincent van Gogh and Paul Cassirer, Berlin: The Reception of Van Gogh in Germany from 1901 to 1914 (Zwolle, The Netherlands: Uitgeverij Waanders, 1988), 18-19, 22, 55, 58, 60, 63, 80, 115, 145, 147, 149, 155, 158, (repro.), as Olive Trees.
Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 109-10, (repro.), as The Olive Grove.
Colin B. Bailey, Joseph J. Rishel, and Mark Rosenthal, Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection, exh. cat. (Philadelphia: Philadelphia Museum of Art, 1989), 105, 193n1.
Marc S. Gerstein, Impressionism: Selections from Five American Museums, exh. cat. (New York: Hudson Hills Press, 1989), 20, 94-96, (repro.), as Olive Orchard.
David Lewis, "Museum Impressions," Carnegie Magazine 59, no. 12 (November-December 1989): 15, 46, (repro.), as Olive Orchard.
Jan Hulsker, Van Gogh en zijn weg: Het complete werk, 6th ed., rev. and expanded (Amsterdam: Meulenhoff Nederland bv, 1989), no. 1759, pp. 400, 403, 406-07, 488n11a, (repro.), as Olijfgaarde.
Toni Wood, "The impressionists broke all the rules: Modern viewers love impressionism," Kansas City Star 110, no. 184 (April 15, 1990): H-4, as Olive Trees.
Bruce Bernard, "Vincent Victorious," Independent Magazine, no. 99 (July 28, 1990), 34-35, (repro.), as Olive Orchard.
Roland Dorn et al., Vincent van Gogh en de moderne kunst, 1890-1914 (Zwolle: Waander Uitgevers, 1990), 261, as Olijfgaard.
Tsukasa Kōdera, Vincent Van Gogh: Christianity Versus Nature (Amsterdam: John Benjamins, 1990), 145.
Giovanni Testori and Luisa Arrigoni, Van Gogh: catalogo completo dei dipinti (Firenze: Cantini, 1990), 295, 297, 302, (repro.), as Oliveto.
Vincent van Gogh and the Modern Movement, 1890-1914 , exh. cat. (Freren, Germany: Luca Verlag, 1990), 412, 414, 416, as Olive Trees.
Ingo F. Walther and Rainer Metzger, Vincent van Gogh: The Complete Paintings, part 2 (1990; repr., Cologne: Taschen GmbH, 2012), 522, (repro.), as Olive Grove.
Johannes van der Wolk, Ronald Pickvance, and E. B. F. Pey, Vincent van Gogh: Drawings, exh. cat. (Milan: Arnoldo Mondadori Arte, 1990), 286.
Russell Ash, Van Gogh's Provence (New York: Knopf, 1990), 58.
Manfred Koch-Hillebrecht, Museen in den USA: Gemälde (Munich: Hirmer Verlag, 1992), 244, as Olivenhain in Saint-Remy.
Ronald de Leeuw et al., Vincent Van Gogh and Japan, exh. cat. (Tokyo: TV Asahi, 1992), 106.
Alice Thorson, "The Nelson Celebrates its 60th: Museum built its reputation, collection virtually 'from scratch'," Kansas City Star 113, no. 304 (July 18, 1993): J4.
Vojtĕch Jirat-Wasiutyński, "Vincent van Gogh's Paintings of Olive Trees and Cypresses from St.-Rémy," Art Bulletin 75, no. 4 (December 1993): 651, as Olive Trees.
Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art, 1933-1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 26, 76, 80n15, as The Olive Grove.
Bernard Denvir, The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists (London: Thames and Hudson, 1993), 279.
Jan Hulsker, Vincent Van Gogh: A Guide to His Work and Letters (Amsterdam: Van Gogh Museum, 1993), 41, 55, 61, 76.
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), 47, 277, (repro.), as Olive Orchard.
Derek Fell, The Impressionist Garden: Ideas and Inspiration from the Gardens and Paintings of the Impressionists (London: Frances Lincoln, 1994), 98, (repro.), as Olive Orchard.
Imre Soós, "Van Gogh Képek Egykor Magyarországon (A magyar műgyűjtés történetéből)," Művészet és Barátai 5, no. 4 (September-October 1995): 16-17, 19, (repro.), as Olajerdő.
Matthias Arnold, Vincent van Gogh: Werk und Wirkung (Munich: Kindler, 1995), 516-18, 571, 822n143, 823n168.
"96 Music Teachers National Association National Convention, March 23-27, 1996, Kansas City, Missouri," American Music Teacher 45, no. 4 (February-March 1996): 23.
Jan Hulsker, The New Complete Van Gogh: Paintings, Drawings, Sketches; Revised and Enlarged Edition of the Catalogue Raisonné of the Works of Vincent Van Gogh , rev. ed. (Amsterdam: J. M. Meulenhoff, 1996), no. 1759, pp. 406-07, (repro.), as Olive Orchard.
Christian Kennert, Paul Cassirer und sein Kreis: Ein Berliner Wegbereiter der Moderne (Frankfurt am Main: Peter Lang, 1996), 60, 206n45, as Olivenbäume.
Ronald de Leeuw, Van Gogh at the Van Gogh Museum (Zwolle: Waanders, 1996), 141.
Alice Thorson, "Uncover the painting, discover the past; Restoring artwork can be touchy job for this conservator," Kansas City Star (June 9, 1998): E1, as Olive Orchard.
Naomi Margolis Maurer, The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent van Gogh and Paul Gauguin (Madison, NJ: Fairleigh Dickinson University Press, 1998), 90-91, (repro.), as Olive orchard.
"Recent Acquisitions, A Selection: 1998-1999," Metropolitan Museum of Art Bulletin 57, no. 2 (Fall 1999): 46.
Ann Dumas and Michael E. Shapiro, Impressionism: Paintings Collected by European Museums (Atlanta: High Museum of Art, 1999), 83-84, 89n37, (repro.), as Olive Grove, Saint-Rémy.
"Behind the Scenes: Museum's European Paintings in Demand," Newsletter (The Nelson-Atkins Museum of Art) (October 2000): 4, as Olive Orchard.
Ronald Pickvance, Van Gogh, exh. cat. (Martigny, Switzerland: Fondation Pierre Gianadda, 2000), 35, 89.
Joan E. Greer, "A modern Gethsemane: Vincent van Gogh's 'Olive grove'," Van Gogh Museum Journal (2001): 111.
László Mravik, "Budapest műgyűjteményei a két világháború között," Budapesti Negyed 32-33 (February-March 2001): unpaginated.
László Mravik, "Őrzők a strázsán: Közgyűjtemények, jogszabályok, esetek," Mozgó Világ 27, no. 6 (June 2001): 50-51, as Olajerdő.
Cornelia Homburg, Vincent van Gogh and the Painters of the Petit Boulevard, exh. cat. (Saint Louis: Saint Louis Art Museum, 2001), 44-45, 242, (repro.), as Olive Orchard.
Pierre Leprohon, Vincent Van Gogh (Saint-Ouen-l'Aumone, France: Éditions du Valhermeil, 2001), 317.
Marco Goldin, L'impressionismo e l'età di Van Gogh, exh. cat. (Conegliano, Italy: Linea d'ombra libri, 2002), 347, (repro.), as Ulivi.
Edgar Lein, Vincent Van Gogh (Cologne: DuMont monte Verlag, 2002), 193, (repro.), as Olivenhain.
Chris Stolwijk and Han Veenenbos, The account book of Theo van Gogh and Jo van Gogh-Bonger (Amsterdam: Van Gogh Museum, 2002), 20, 32, 49, 124, 145n14/4, 187, (repro.), as Olive orchard.
"Vincent Van Gogh: Honor Anniversary of Modern Master's Life and Art with a Visit to the Nelson-Akins," Newsletter (The Nelson-Atkins Museum of Art) (March 2003): 8, as Olive Orchard.
Jos Ten Berge et al., The Paintings of Vincent Van Gogh in the Collection of the Kröller-Müller Museum (Otterlo: Kröller-Müller Museum, 2003), 293.
Judit Geskó, ed., Monet et ses amis, exh. cat. (Budapest: Vince Kiadó, 2003), 24-25, erroneously as De la Faille.
Marco Goldin, l'Oro e l'Azzurro: I colori del Sud da Cézanne a Bonnard, exh. cat. (Conegliano, Italy: Linea d'ombra Libri, 2003), 109, 396, (repro.), as Ulivi.
Tamás Kieselbach, ed., Modern Hungarian Painting 1892-1919 (Budapest: Tamás Kieselbach, 2003), 16, (repro.), as Olive Grove.
Tobias G. Natter, Die Galerie Miethke: Eine Kunsthandlung im Zentrum der Moderne, exh. cat. (Vienna: Jüdisches Museum, 2003), 130n143, 131n147, 132, and 133n154, 164, (repro.), as Olivenhain.
Viviane Rosé, Temps, Affect, Sensation: de Cézanne à Matisse (Lille: Atelier national de reproduction des thèses, 2003), 229n3, as Les Oliviers (avec sentier).
Péter Molnos, "A Kohner-gyűjtemény," Artmagazin 2, no. 1 (March 2004): 19-22, as Olajerdő.
F. Dózsa Katalin, Az áttörés kora Bécs és Budapest a historizmus és avantgárd között (1873-1920): Klimt, Schiele, Kokoschka és a dualizmus művészete című kiállítás tárgyleírásai , vol. 2 (Budapest: Budapesti Történeti Múzeum, 2004), 95, as Olive Grove és a Saint Rémy.
Kimberly A. Smith, Between Ruin and Renewal: Egon Schiele's Landscapes (New Haven: Yale University Press, 2004), 33, (repro.), as Olive Trees.
Guillermo Solana, Gauguin and the Origins of Symbolism, exh. cat. (Madrid: Fundación Colección Thyssen-Bornemisza, 2004), 189, 327, (repro.), as Olive Grove [Les oliviers].
Veronika Grodzinski, "French Impressionism and German Jews: The Making of Modernist Art Collectors and Art Collections in Imperial Germany, 1896-1914," vol. 2, "Illustrations and Appendices" (PhD diss., University College London, 2005), 142, as Olive Trees.
Alessandra Farkas, Pranzo di Famiglia (Milan: Sperling and Kupfer, 2006), 91.
Judit Geskó, ed., Van Gogh in Budapest, exh. cat. (Budapest: Museum of Fine Arts, 2006), 19, 38-39, 57-58, 143, 145-150, 165n36, 180, 348, (repro.), as Olive Orchard.
Jonathan Pascoe Pratt, "Ambroise Vollard: Dealer and Publisher 1893-1900" (PhD diss., The Courtauld Institute of Art, 2006), 311, as Oliviers/niet opgezet.
Ágnes Lampé, "Családregény: Farkas Károly örökségről és háláról," 168 Óra (July 18, 2007) [repr. in Szombat (July 22, 2007): http://www.szombat.org/archivum/farkas-karoly-oroksegrol-es-halarol-%e2%80%93-csaladregeny-1373029102].
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), 15-16, as Olive Orchard.
Marije Vellekoop and Roelie Zwikker, Vincent van Gogh Drawings, vol. 4, trans. Diane Webb (Amsterdam: van Gogh Museum, 2007), 225n3.
Regan Palmer, "Muse for the Masses," Missouri Life Magazine 35 (December 2008): 58, 62-63, (repro.), as Olive Orchard.
Klaus Albrecht Schröder et al., eds., Van Gogh: Heartfelt Lines, exh. cat. (Cologne: DuMont Buchverlag GmbH, 2008), 57, 380-81, (repro.), as Olive Orchard.
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), X-XI, 35, 124, (repro.), as Olive Orchard.
Kunstmuseum Basel, ed., Vincent van Gogh: Between Earth and Heaven, The Landscapes, exh. cat. (Ostfildern, Germany: Hatje Cantz Verlag, 2009), 46, 239, 248-49, 304, (repro.), as Olive Orchard.
Walter Feilchenfeldt, Vincent van Gogh: Die Gemälde 1886-1890; Händler, Sammler, Ausstellungen, Frühe Provenienzen (Wädenswil, Switzerland: Nimbus, Kunst und Bücher, 2009), 31n38, 211, 288, 321, 324, 327, 329, 331, (repro.), as Die Olivenbäume, Olive Trees.
Leo Jansen, Hans Luijten, and Nienke Bakker, eds., Vincent Van Gogh: The Letters; The Complete Illustrated and Annotated Edition , vol. 5 (2009; repr. online Amsterdam and The Hague: Van Gogh Museum and Huygens ING), http://vangoghletters.org , letter nos. 780, 783, 789, 805, 806, 823, RM21; pp. 34n1, 41n2, 59n2, 101, 106-07, 154-55, 320, (repro.), as Oliviers [Olive trees].
Susan Alyson Stein and Asher Ethan Miller, eds., The Annenberg Collection: Masterpieces of Impressionism and Post-Impressionism (New York: Metropolitan Museum of Art, 2009), 210n17, 212, 216n1.
András Zwickl, Judit Gömöry, and Nóra Veszprémi, A Művészház 1909-1914: Modern Kiállítások Budapesten, exh. cat. (Budapest: Magyar Nemzeti Galéria, 2009), 61.
Bernhard Echte and Walter Feilchenfeldt, eds., Kunstsalon Paul Cassirer: Die Ausstellungen 1901-1905; "Man steht da und staunt" (Wädenswil, Switzerland: Nimbus. Kunst und Bücher, 2011), 693, 706, 708, 725, (repro.), as Olivenbäume.
"Art Inspires Art: New Work by Composer Adam Schoenberg," Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2012): 8, (repro.), as Olive Orchard.
Péter Molnos, "The Works of Paul Cézanne in Hungarian Private Collections," in Judit Geskó, Cézanne and the Past: Tradition and Creativity, exh. cat. (Budapest: Museum of Fine Arts, 2012), 205-208, 515n5, 515n7, as Olive Grove.
Attila Ledényi and Zoltán Somhegyi, eds., Klasszikus magángyűjtemények Magyarországon: válogatás jelentős művészeti gyűjteményekből (Budapest: Art Today Kft., 2012), 42.
Walter Feilchenfeldt, Vincent van Gogh: The Years in France; Complete Paintings 1886-1890: Dealers, Collectors, Exhibitions, Provenance (London: Philip Wilson, 2013), 32n38, 213, 291, 312, 315, 318, 320, 322, (repro.), as Olive Trees.
Samanatha Friedman, Van Gogh, Dalí, and Beyond: The World Reimagined, exh. cat. (New York: Museum of Modern Art, 2013), 15.
Ralph Skea, Vincent's Trees: Paintings and Drawings by Van Gogh (London: Thames and Hudson, 2013), 87.
Bettina Kaufmann, "Homme de l'art, Kunsthändler, Kunstsachverständiger, Kunstexperte, Provenienzforscher, Kurator..." Du, no. 857 (June 2015), 40, 42-43, 50, (repro.), as Olivenhain.
Péter Molnos, Aranykorok Romjain: Tanulmányok A Modern Magyar Festészet és Műgyűjtés Történetéből a Kieselbach Galéria Alapításának Huszadik Évfordulójá (Budapest: Kieselbach Galéria Kereskedelmi Kft., 2015), 12, 98-99, 100n20, 101-2, 106-8, 144, 182, (repro.), as Olajerdő.
Edwin Mullins, Van Gogh: The Asylum Year (London: Unicorn Press Ltd, 2015), 45-46, 53, 91, 115.
"Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017," Artdaily.org (July 20, 2016): unpaginated.
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), 101, (repro.), as Olive Trees.
Bogomila Welsh-Ovcharov, Vincent van Gogh: The Lost Arles Sketchbook (New York: Abrams, 2016), 236n2.
Matt Campbell, "For 128 years, bug stuck in Van Gogh's painting went unnoticed," Kansas City Star (November 6, 2017): visual arts, as Olive Trees.
Kathleen Leighton, "Grasshopper Found Embedded in van Gogh Masterpiece," Nelson-Atkins.org (November 6, 2017): https://nelson-atkins.org/grasshopper-found-embedded-van-gogh-masterpiece/ utm_source=wordfly&utm_medium=email&utm_campaign=WeeklyEvents11.13.17&utm_content=Grasshopper_version_A&promo=4403, as Olive Trees.
"Grasshopper found embedded in a 100-year-old Vincent van Gogh painting," CTV News (November 7, 2017), https://www.ctvnews.ca/entertainment/grasshopper-found-embedded-in-a-100-year-old-vincent-van-gogh-painting-1.3666723, as Olive Trees.
"Grasshopper found in van Gogh painting at Kansas City museum," Seattle Times (November 7, 2017): https://www.seattletimes.com/nation-world/grasshopper-found-in-van-gogh-painting-at-kansas-city-museum/, as Olive Trees.
Barney Henderson, "Grasshopper found embedded in Vincent Van Gogh's Olive Trees painting," (London) Telegraph (November 7, 2017): https://www.telegraph.co.uk/news/2017/11/07/grasshopper-found-embedded-vincent-van-goghs-olive-trees-painting/, as Olive Trees.
Kate Brown, "A Very Fancy Grasshopper Was Found in the Paint of a van Gogh Masterpiece," artnet News (November 8, 2017), https://news.artnet.com/art-world/grasshopper-discovered-in-van-gogh-masterpiece-1142525, as Olive Trees.
Mark Brown, "Dead grasshopper discovered in Vincent van Gogh painting," Guardian (November 8, 2017): https://www.theguardian.com/artanddesign/2017/nov/08/dead-grasshopper-discovered-in-vincent-van-gogh-painting, as Olive Trees.
Sopan Deb, "A Grasshopper Has Been Stuck in This van Gogh Painting for 128 Years," New York Times (November 8, 2017): https://www.nytimes.com/2017/11/08/arts/design/grasshopper-vincent-van-gogh-painting.html, as Olive Trees.
Colin Dwyer, "The Grasshopper In The Van Gogh," KCUR 89.3 (November 8, 2017): http://kcur.org/post/grasshopper-van-gogh, as Olive Trees.
"Grasshopper found in Vincent van Gogh painting at Kansas City museum," Chicago Tribune (November 8, 2017): http://www.chicagotribune.com/news/nationworld/ct-van-gogh-grasshopper-20171108-story.html, as Olive Trees.
"Van Gogh tablosunda çekirge bulundu," BBC News Türkçe (November 8, 2017), https://www.bbc.com/turkce/haberler-dunya-41914375, as Zeytin Ağaçları.
Will Pavia, "Grasshopper immortalized under the Vincent van Gogh Olive Trees," Times (London) (November 9, 2017): https://www.thetimes.co.uk/article/grasshopper-immortalised-under-the-vincent-van-gogh-olive-trees-z5gcnc3hv, as Olive Trees.
Kate Sheridan, "Dead Grasshopper Stuck in van Gogh Painting for 128 Years Sheds Light on Art Mystery," Newsweek (November 9, 2017): http://www.newsweek.com/dead-grasshopper-stuck-van-gogh-painting-128-years-sheds-light-art-mystery-706541, as Olive Trees.
Sopan Deb, "Patience, Grasshopper: Art's Long, Life's Short," New York Times (November 10, 2017): C3, as Olive Trees.
Cassandra Santiago and Doug Criss, "Dead grasshopper lay hidden in van Gogh painting for 128 years," Cable News Network (CNN) (November 10, 2017): https://www.cnn.com/2017/11/10/us/van-gogh-painting-dead-grasshopper-trnd/index.html, as Olive Trees.
Gina Kaufmann and Coy Dugger, "History of Primitivo Garcia; Grasshopper Found in van Gogh Painting," KCUR 89.3 (November 14, 2017): http://kcur.org/post/history-primitivo-garcia-grasshopper-found-van-gogh-painting#stream/0, as Olive Trees.
Martos Gábor, "A Sógornő, Aki Felépítette a van Gogh Nevet," Artmagazin Hungary (July 25, 2018): 106, (repro.), https://www.artmagazin.hu/articles/archivum/a1c4fda7722fb546a68f696ee1271f84, as Olajfaliget (Le champ d'oliviers).
Péter Molnos, Lost Heritage: Hungarian Art Collectors in the Twentieth Century (Budapest: Kieselbach Gallery and Auction House, 2018), 105-107, 109, 111, 119, 134, 136, 140, 142, 193, (repro.), as Olive Trees.
Jennifer Silvey, "10 Art pieces or galleries to go see in Kansas City this spring," Fox4KC.com (March 11, 2019): https://fox4kc.com/2019/03/10/10-art-pieces-or-galleries-to-go-see-in-kansas-city-this-spring/.
Aimee Marcereau DeGalan, "Vincent van Gogh, Olive Trees, June/September 1889," catalogue entry, and Mary Schafer and John Twilley, "Vincent van Gogh, Olive Trees, June/September 1889," technical entry in Aimee Marcereau DeGalan, ed., French Paintings, 1600-1945: The Collections of the Nelson-Atkins Museum of Art (Kansas City: The Nelson-Atkins Museum of Art, 2021), https://doi.org/10.37764/78973.5.738.5407.
Dana Self, "Arts News: Nelson-Atkins Digital French Paintings Catalogue," KC Studio (June 1, 2021): http://kcstudio.org/nelson-atkins-digital-french-paintings-catalogue/.
Julian Zugazagoitia and Laura Spencer. Director's Highlights: The Nelson-Atkins Museum of Art Celebrating 90 Years, ed. Kaitlyn Bunch (The Nelson-Atkins Museum of Art, 2024), 27 (repro.).
