Faaturuma (Melancholic)
Framed: 45 7/8 × 36 × 2 3/4 inches (116.52 × 91.44 × 6.99 cm)
Peintures, Pastels, Aquarelles, Dessins, Sculptures, Céramiques, Objets d’Art, Lithographies, etc., Société des Beaux-Arts de Béziers, Salle Berlioz, rue Solférino, April-May 1901, no. 52, as Tahitienne au rocking-chair.
Exposition Paul Gauguin, Galerie Ambroise Vollard, Paris, November 4-28, 1903, no. 31, as Rêverie.
Salon d’Automne: 4ème exposition; Œuvres de Gauguin, Grand Palais, Paris, October 5-November 15, 1906, no. 72, as Rêveuse.
Galerie Miethke, März-April 1907, Galerie Miethke, Vienna, Austria, March 15-April 28, 1907, no. 65, as Melancholie.
Tavaszi Kiállítás: Gauguin, Cézanne stb. Müvei, Nemzeti Szalon, Budapest, May 1907, no. 8, as Melancholia.
Possibly Exposition d’Œuvres de Paul Gauguin, Galerie Ambroise Vollard, Paris, April 25-May 14, 1910, unnumbered, as Femme dans un fauteuil.
Manet and the Post-Impressionists, Grafton Galleries, London, November 8, 1910-January 15, 1911, no. 45, as Réverie [sic].
Ausstellung von Werken Paul Gauguin’s im Kunstsalon Wolfsberg, Kunstsalon Wolfsberg, Zurich, March 17-April 15, 1912, no. 5127, as La Rêverie. Jeune fille dans un fauteuil. Paysage de Tahiti.
Ausstellung von Werken aus dem Besitz von Mitgliedern der Vereinigung Zürcher Kunstfreunde, Kunsthaus Zürich, September 3-October 2, 1927, no. 92, as Träumerei.
Paul Gauguin, 1848-1903, Kunsthalle Basel, July 1-September 9, 1928, no. 77, as Tahitierin [sic] im Schaukelstuhl (Rêverie).
Paul Gauguin: 1848-1903, Galerien Thannhauser, Berlin, October 1928, no. 52, as Tahitanerin [sic].
First Loan Exhibition: Cézanne, Gauguin, Seurat, Van Gogh, Museum of Modern Art, New York, November 7-December 7, 1929, no. 38, as Reverie.
The Stransky Collection of Modern Art, Worcester Art Museum, Worcester, MA, opened January 6, 1933, no cat.
Paul Gauguin, 1848-1903: A Retrospective Loan Exhibition for the Benefit of les Amis de Paul Gauguin and the Penn Normal Industrial and Architectural School, Wildenstein, New York, March 20-April 18, 1936, no. 21, as Reverie.
Paul Gauguin, 1848-1903, Fogg Art Museum, Cambridge, MA, May 1-21, 1936, no. 19, as Reverie.
Paul Gauguin, 1848-1903: A Retrospective Exhibition of his Paintings, Baltimore Museum of Art, May 24-June 5, 1936, no. 13, as Reverie.
“Collection of a Collector”: Modern French Paintings from Ingres to Matisse (The Private Collection of the Late Josef Stransky), Wildenstein, London, July 1936, no. 25, as Rêverie.
La vie ardente de Gauguin, Gazette des Beaux-Arts, Paris, November 1936, no. 113, as La Rêverie.
Trends in European Painting from the XIIIth to the XXth Century, Art Gallery of Toronto, Canada, October 15-November 15, 1937, no. 40, as Reverie.
Five Years of Collecting, The Nelson-Atkins Museum of Art, Kansas City, December 4-11, 1938, no cat.
French Painting from David to Toulouse-Lautrec, Metropolitan Museum of Art, New York, February 6-March 26, 1941, no. 51, as Reverie.
A Loan Exhibition of Paul Gauguin for the Benefit of the New York Infirmary, Wildenstein, New York, April 3-May 4, 1946, no. 14, as Reverie.
Gauguin: Exposition du centenaire, Musée de l’Orangerie des Tuileries, Paris, July 1949, no. 26, as Rêverie.
Masterpieces from Museums and Private Collections: Jubilee Loan Exhibition, 1901-1951, Wildenstein, New York, November 8-December 15, 1951, no. 53, as Rêverie.
Twenty Years of Collecting, The Nelson-Atkins Museum of Art, Kansas City, December 11-31, 1953, no cat.
Paul Gauguin: His Place in the Meeting of East and West, Museum of Fine Arts, Houston, March 27-April 25, 1954, no. 19, as Reverie.
The Two Sides of the Medal: French Painting from Gérôme to Gauguin, Detroit Institute of Arts, September 28-October 31, 1954, no. 109, as Rêverie.
Gauguin: Loan Exhibition for the Benefit of the Citizens’ Committee for Children of New York City, Inc., Wildenstein, New York, April 5-May 5, 1956, no. 25, as Reverie.
Gauguin: Paintings, Drawings, Prints, Sculpture, Art Institute of Chicago, February 12-March 29, 1959; Metropolitan Museum of Art, April 23-May 31, 1959, no. 29, as Reverie (Melancolique) [sic].
Man: Glory, Jest, and Riddle; A Survey of the Human Form through the Ages, California Palace of the Legion of Honor, San Francisco, November 10, 1964-January 3, 1965, no. 183, as Reverie.
La revue blanche: Paris in the Days of Post-Impressionism and Symbolism, Wildenstein, New York, November 17-December 31, 1983, unnumbered, as La Rêverie.
The Art of Paul Gauguin, National Gallery of Art, Washington, May 1-July 31, 1988; The Art Institute of Chicago, September 17-December 11, 1988; Grand Palais, Paris, January 10-April 24, 1989, no. 126, as Faaturuma (Boudeuse).
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, 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. 29, as Faaturuma (Melancholic).
The Artist and the Camera: Degas to Picasso, San Francisco Museum of Modern Art, October 2, 1999-January 4, 2000; Dallas Museum of Art, February 1-May 7, 2000; Fundación del Museo Guggenheim, Bilbao, June 12-September 10, 2000, no. 123 (Dallas only), as Melancholic (Faaturuma).
Vincent van Gogh and the Painters of the Petit Boulevard, Saint Louis Art Museum, February 17-May 13, 2001; Städelsches Kunstinstitut, Frankfurt, June 8-September 2, 2001, unnumbered, as Faaturuma.
Expressive!, Fondation Beyeler, Basel, March 30-August 10, 2003, unnumbered, as Melancholic and Faaturuma (Boudeuse).
Gauguin, Polynesia, Ny Carlsberg Glypotek, Copenhagen, September 24-December 31, 2011; Seattle Art Museum, February 9-April 29, 2012, no. 166 (Seattle only), as Faaturuma (Melancholic).
Expressionism in Germany and France: From Van Gogh to Kandinsky, Kunsthaus Zürich, February 7-May 11, 2014; Los Angeles County Museum of Art, June 8-Setpember 14, 2014; Montreal Museum of Fine Arts, October 6, 2014-January 25, 2015, unnumbered (Montreal only), as Melancholic.
Paul Gauguin, Fondation Beyeler, Basel, February 8-June 28, 2015, unnumbered, as Faaturuma / Boudeuse (The Brooding Woman).
Disillusioned with modern society, Paul Gauguin left France for Tahiti in 1891 in search of an earthly paradise that he imagined was untouched by civilization. Upon arriving, he realized that colonialism had all but eradicated traditional Tahitian culture.
Here, a Tahitian woman wears a Western-style dress and gold marriage band introduced by Catholic missionaries. In order to emphasize the “exoticness” of his subject, Gauguin gave his painting a Tahitian title, Faaturuma. This roughly translates to melancholic or brooding; Gauguin appears to be commenting on the sadness of this lost paradise.
Paul Gauguin (1848-1903), Tahiti and Paris, 1891-no later than September 29, 1901 [1];
Purchased from Gauguin by Georges-Daniel de Monfreid (1856-1929), Paris, by September 29, 1901-December 21, 1901 [2];
Purchased from Monfreid by Ambroise Vollard (1866-1939), Paris, December 21, 1901-at least March 15, 1912, Stockbook B, no. 3330, as Femme en rouge dans un fauteuil, and no. 4506, Femme assise sur un fauteuil [3];
Probably purchased from Vollard by Johann Erwin Wolfensberger (1873-1944), Zurich, ca. spring 1912-at least September 15, 1928 [4];
Probably purchased from Wolfensberger through Justin Kurt Thannhauser (1892-1976), Berlin, by Josef Stransky (1872-1936), New York, ca. October 1928-March 6, 1936 [5];
Stransky estate, New York, 1936-January 4, 1938 [6];
Purchased from the Stransky estate through Wildenstein, New York, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1938.
NOTES:
[1] Some scholars believe that Faaturuma was bought in by Gauguin at the following sale: Vente de tableaux et dessins par Paul Gauguin, Hôtel Drouot, Paris, February 18, 1895, no. 30, as Faturuma [sic]; see Richard Brettell et al., The Art of Paul Gauguin, exh. cat. (Washington: National Gallery of Art, 1988), 228. Others believe Te Faaturuma (Worcester Art Museum) is more likely to have been included in this sale as no. 30; see Jonathan Pascoe Pratt, “Ambroise Vollard: Dealer and Publisher 1893-1900,” (PhD diss., The Courtauld Institute of Art, 2006), 77. The Wildenstein Institute and Worcester Art Museum both agree with Pratt; see letter from Sylvie Crussard, Wildenstein Institute, to Meghan Gray and Simon Kelly, November 6, 2009; e-mail from Sylvie Crussard, Wildenstein Institute, to Brigid Boyle, August 24, 2015; and e-mail from Karysa Norris, Curatorial Assistant, Worcester Art Museum, to Brigid Boyle, November 16, 2015, NAMA curatorial files.
On June 28, 1895, Gauguin departed Marseille for Tahiti, leaving behind the paintings from his first Tahitian trip, including Faaturuma. He likely entrusted them to Georges-Daniel de Monfreid with instructions to sell them. Monfreid purchased Faaturuma from Gauguin sometime between June 1895 and September 1901.
[2]
In a letter dated September 29, 1901, Monfreid informs Vollard that an amateur collector has expressed interest in purchasing Faaturuma from him. Since Vollard “avez la priorité sur d’autres” [has priority over others] as Gauguin’s agent, Monfreid gives him the option of purchasing Faaturuma himself; see letter from Georges-Daniel de Monfreid to Ambroise Vollard, September 29, 1901, Harry Ransom Center, Carlton Lake Collection, Container 189.10. Vollard agreed to purchase the painting; see letter from Ambroise Vollard to Georges-Daniel de Monfreid, October 2, 1901, Getty Research Institute, Miscellaneous Papers Regarding Ambroise Vollard (1890-1939), Series I, Box 1, Folder 18. He completed his purchase on December 21, 1901; see letter from Ambroise Vollard to Georges-Daniel de Monfreid, December 23, 1901, Getty Research Institute, Miscellaneous Papers Regarding Ambroise Vollard (1890-1939), Series I, Box 1, Folder 19.
Bengt Danielsson claims erroneously that Vollard purchased Faaturuma as early as 1893, after it was exhibited at the Galeries Durand-Ruel; see Gauguin in the South Seas, trans. Reginald Spink (1964; Garden City, NY: Doubleday, 1966), 155.
[3] Faaturuma remained in Vollard’s possession until at least March 15, 1912, when Vollard shipped the painting to Zurich for the Ausstellung von Werken Paul Gauguin’s im Kunstsalon Wolfsberg (March 17-April 15, 1912); see Musée d’Orsay, Paris, Documentation Center, Fonds Vollard, Ms 421 (4,13), Registre consignant des expéditions, avec adresses des destinataires, du 33 mai 1907 au 15 février 1923, fº 46-47.
Stockbook B is preserved at the Musée d’Orsay, Paris, Documentation Center, Fonds Vollard, Ms 421 (4,5), Registre des entrées et sorties de juin 1904 à décembre 1907 avec des achats aux artistes Gauguin, Redon, Cézanne, Valtat, Denis, Cassatt, K. X. Roussel. There is also a glass plate of Faaturuma preserved at the Musée d’Orsay, Paris, Documentation Center, Archives photographiques du fonds Vollard, ODO 1996-56-3722, which bears the stock number 4506.
[4] After the close of the Ausstellung von Werken Paul Gauguin’s im Kunstsalon Wolfsberg, an exhibition of works loaned by Ambroise Vollard, Johann Erwin Wolfensberger (owner of the Kunstsalon Wolfsberg) purchased a Gauguin painting from Vollard for 9000 francs, which he paid in two installments. The first installment of 2000 francs was received on June 18, 1912 and the second installment of 7000 francs was received on July 12, 1912; see Musée d’Orsay, Paris, Documentation Center, Fonds Vollard, Ms 421 (5,8), Agenda de bureau pour 1912, p. 112 and 131. Vollard’s agenda book does not identify the painting by title or stock number, but Lukas Gloor believes the painting Wolfensberger purchased was Faaturuma; see Raphaël Bouvier and Martin Schwander, eds., Paul Gauguin, exh. cat. (Basel: Beyeler Museum, 2015), 189. As Gloor points out, Faaturuma disappears from Vollard’s books after the spring of 1912; see e-mail from Lukas Gloor, Director, Sammlung E. G. Bührle, to Brigid Boyle, July 23, 2015, NAMA curatorial files.
Faaturuma remained in Wolfensberger’s collection until at least September 15, 1928, when the Kunsthalle Basel returned it to him after the close of their exhibition, Paul Gauguin, 1848-1903 (July 1-September 9, 1928); see letter from the Kunsthalle Basel to J. E. Wolfensberger, September 15, 1928, Staatsarchiv des Kanton Basel-Stadt, Basel, Pa 888a N6 (1) 239.
The Wildenstein catalogue raisonné of 1964 tentatively suggests that a certain “Dr. Hahnloser, Zurich” owned Faaturuma between Vollard and Wolfensberger. The best-known collectors fitting this description are Arthur Hahnloser (1870-1936) and his brother Emil Hahnloser (1874-1940). However, neither began collecting works by Gauguin until after World War I. As Lukas Gloor notes, “an acquisition by Arthur Hahnloser of Faaturuma in 1912 would…have been totally out of sync with Arthur’s collecting behaviour at that time” and “an acquisition by Emil Hahnloser of Faaturuma in 1912 would have been a totally isolated affair”; see e-mail from Lukas Gloor, Director, Sammlung E. G. Bührle, to Brigid Boyle, July 23, 2015, NAMA curatorial files.
[5] The Wildenstein catalogue raisonné of 1964 claims that Justin K. Thannhauser owned Faaturuma between Wolfensberger and Stransky, but there is no documentary evidence to support this. Shortly after receiving Faaturuma back from the Kunsthalle Basel in September 1928, Wolfensberger presumably shipped it to Berlin for the exhibition Paul Gauguin, 1848-1903 (October 1928) at the Galerien Thannhauser. Sylvie Crussard believes that Justin K. Thannhauser acted as an intermediary for Wolfensberger when he sold Faaturuma; see e-mail from Sylvie Crussard, Wildenstein Institute, to Brigid Boyle, August 24, 2015, NAMA curatorial files. This was not without precedent: in 1920, Stransky purchased Gauguin’s A Farm in Brittany (Metropolitan Museum of Art, 54.143.2) from Thannhauser, who had it on consignment from a private collector. However, Dr. Günter Herzog found no reference to Faaturuma in the archives of the Galerien Thannhauser, Zentralarchiv des internationalen Kunsthandels, Cologne; see e-mail from Günter Herzog to Brigid Boyle, August 12, 2015, NAMA curatorial files.
Stransky definitely owned Faaturuma by May 16, 1931, when his collection was featured in Art News. Mark Aitken, Stransky’s great-nephew, does not know how Faaturuma came into Stransky’s possession, nor does he believe any documentation of Stransky’s collection has survived; see phone conversation between Mark Aitken and Brigid Boyle, June 16, 2015, NAMA curatorial files.
[6] When Stransky died in 1936, married but
childless, Faaturuma passed to his estate. Wildenstein negotiated with the
estate on behalf of the Nelson-Atkins; see Trustees’ Meeting, December 10,
1937, NAMA curatorial files.
Exposition d’Œuvres récentes de Paul Gauguin , exh. cat. (Paris: E. Moreau et Cie, 1893), 19, as Faturuma [sic] (Boudeuse) or Mélancolique.
Possibly Vente de Tableaux et Dessins par Paul Gauguin, Artiste Peintre (Paris: G. Camproger, 1895), 10, as Faturuma [sic].
Possibly “Tableaux et Dessins par Paul Gauguin,” Gazette de l’Hôtel Drouot 5, nos. 61-62 (March 2-3, 1895): unpaginated, as Faturuma [sic] (La boudeuse).
Catalogue des Peintures, Pastels, Aquarelles, Dessins, Sculptures, Céramiques, Objets d’Arts, Lithographies, etc. (Béziers, France: Imprimerie de l’Hérault, 1901), 15, as Tahitienne au rocking-chair.
Exposition Paul Gauguin , exh. cat. (Paris: Galerie Ambroise Vollard, [1903]), unpaginated, as Rêverie.
Catalogue des Ouvrages de Peinture, Sculpture, Dessin, Gravure, Architecture et Art décoratif , exh. cat. (Paris: Compagnie Française des Papiers-Monnaie, 1906), 194, as Rêveuse.
Jean de Rotonchamp [Jean Brouillon], Paul Gauguin, 1848-1903 (Paris: Édouard Druet, 1906), 120, 135, as Mélancolique.
Galerie Miethke, März-April 1907 , exh. cat. (Vienna: Galerie Miethke, [1907]), 18, as Melancholie.
Tavaszi Kiállitás: Gauguin, Cézanne stb. Müvei , exh. cat. (Budapest: Légrády Testvérek, 1907), 5, as Melancholia .
Possibly Exposition d’Œuvres de Paul Gauguin, exh. cat. (Paris: Galerie A. Vollard, [1910]), unpaginated, as Femme dans un fauteuil.
Grafton Galleries, Manet and the Post-Impressionists, exh. cat. (London: Ballantyne, [1910]), 19n1, as Réverie [sic].
Possibly H[ippolyte] Mireur, Dictionnaire des Ventes d’Art Faites en France et à l’Étranger Pendant les XVIIIme et XIXme Siècles , vol. 3 (Paris: Maison d’Éditions d’Œuvres Artistiques, 1911), 263, as Faturuma (La boudeuse).
Ausstellung von Werken Paul Gauguin’s im Kunstsalon Wolfsberg , exh. cat. (Zurich: Kunstsalon Wolfsberg, 1912), (repro.), asLa Rêverie. Jeune fille dans un fauteuil. Paysage de Tahiti.
Charles Morice, Paul Gauguin (Paris: H[enri] Floury, 1919), 171n1, as Faturuma [sic] (Boudeuse) or Mélancolique.
Kunsthaus Zürich, Ausstellung von Werken aus dem Besitz von Mitgliedern der Vereinigung Zürcher Kunstfreunde , exh. cat. (Zurich: Buchdruckerei Berichthaus Zürich, 1927), 14, as Träumerei.
Paul Gauguin, 1848-1903, exh. cat. (Basel: Kunsthalle Basel, 1928), 21, as Tahitierin im Schaukelstuhl (Rêverie).
Paul Gauguin, 1848-1903 , exh. cat. (Berlin: Galerien Thannhauser, 1928), 11, as Tahitanerin [sic].
The Museum of Modern Art, First Loan Exhibition: Cézanne, Gauguin, Seurat, Van Gogh, exh. cat. (1929; repr., [New York]: Arno Press, 1972), 39, (repro.) as Reverie.
Edward Alden Jewell, “The New Museum of Modern Art Opens: A Superb Showing of Work by Four Pioneers; Cezanne [sic], Gauguin, Van Gogh and Seurat; Contemporary Frenchmen,” The New York Times 79, no. 26,223 (November 10, 1929): 14X, (repro.), as Reverie.
Possibly F[elipe] Cossío del Pomar, Arte y Vida de Pablo Gauguin (Escuela Sintetista) (Paris: Léon Sánchez Cuesta, 1930), 226, as Faatourouma (Enfurruñada).
Ralph Flint, “The Private Collection of Josef Stransky,” TheArt News 29, no. 33 (May 16, 1931): 87-88, 105, (repro.), as Reverie, Femme á [sic] la Robe Rouge.
R[eginald] H[oward] Wilenski, French Painting (Boston: Hale, Cushman and Flint, 1931), 289, as Reverie (Tahitian girl in rocking-chair).
P[erry] B. C[ott], “The Stransky Collection of Modern Art,” Bulletin of the Worcester Art Museum 23, no. 4 (Winter 1933): 149, 154, 156, (repro.), as Rêverie, Femme à la Robe Rouge.
Edward W. Forbes, [“Report of the Fogg Art Museum, 1935-36”],Annual Report (Fogg Art Museum), nos. 1935-1936 (1935-36): 25, as Reverie.
Paul Gauguin, 1848-1903: A Retrospective Loan Exhibition for the Benefit of les Amis de Paul Gauguin and the Penn Normal Industrial and Agricultural School , exh. cat. (New York: Wildenstein, 1936), 31, 48, (repro.), as Reverie.
Edward Alden Jewell, “Gauguin Paintings Shown at Preview: 49 Canvases Represent All Principal Phases of French Artist’s Career; Scrapbooks Also on View; Manuscript of ‘Noa Noa,’ 204 Pages, and Illustrations of Book in Exhibition,” The New York Times 85, no. 28,545 (March 20, 1936): 27, as Reverie.
“Gauguin in Retrospect: Loan Exhibition at Wildenstein’s Covers Period from 1875 to His Death in 1903,” The New York Times 85, no. 28,547 (March 22, 1936): 8X, as Reverie.
Paul Gauguin, 1848-1903, exh.cat. (New York: Harbor Press, 1936), 29-30, 49, (repro.), as Reverie.
Paul Gauguin 1848-1903: A Retrospective Exhibition of His Paintings , exh. cat. (Baltimore: Baltimore Museum of Art, 1936), unpaginated, (repro.), as Reverie.
“ Collection of a Collector”: Modern French Paintings from Ingres to Matisse (The Private Collection of the Late Josef Stransky) , exh. cat. ([London]: Wildenstein, 1936), unpaginated, as Rêverie.
Raymond Cogniat, La Vie Ardente de Paul Gauguin, exh. cat. (Paris: Gazette des Beaux-Arts, [1936]), 65, 82, (repro.), as La Rêverie.
Paul Gauguin, 1848-1903: An Exhibition of Original Work and Colour Prints and of Polynesian Art , exh. cat. (Edinburgh: Whytock and Reid, 1937), 8, as Rêverie.
Trends in European Painting from the XIIIth to the XXth Century , exh. cat. ([Toronto]: Art Gallery of Toronto, [1937]), 40, as Reverie.
“A Fine Addition to the Gallery,” Kansas City Star 59, no. 38 (October 23, 1938): D, as Reverie.
“Kansas City Gets a Gauguin,” The New York Times 88, no. 29,493 (October 24, 1938): 20, as Reverie.
“‘Reverie’: A Famous Gauguin Just Added to the Kansas City Collections,”The Art News 37, no. 5 (October 29, 1938): 5-6, (repro.), as Reverie.
“Important Gauguin Goes to Missouri Museum,” Art Digest 13, no. 3 (November 1, 1938): 13, (repro.), as Reverie.
“Masterpiece of the Month,” “Friends of Art,” and “Radio Broadcasts,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 5, no. 1 (November 1, 1938): 2-3, as Reverie.
H. C. H., “Art and Artists: Abstractions Art to Art What Miss Stein Is to Prose,” Kansas City Star 59, no. 48 (November 4, 1938): 19, as Reverie.
“‘Visit Your Gallery Week’ Designated December 4-11,”Kansas City Journal 85, no. 66 (November 27, 1938): 36, as Reverie.
“Five Years of Collecting,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 5, no. 2 (December 1, 1938): 1, as Reverie.
“Footnotes,” Lincoln (NE) Evening State Journal (December 2, 1938): 8.
Paul Gardner, “Kansas City: Jubilee and an Acquisition,” Art News 37, no. 10 (December 3, 1938): 19, as Rêverie.
“A Good Start on Art: Paintings of Nelson Gallery
Are Described by Advisor,” Kansas City
Times 101, no. 299 (December 15, 1938): 6, as Reverie.
“Kansas City’s Nelson Gallery Celebrates its Fifth Anniversary,” Art Digest 13, no. 6 (December 15, 1938): 7, as Reverie.
H. C. H., “Sale of Hearst’s Collection Heads the Art News for 1938,”Kansas City Star 59, no. 104 (December 30, 1938): 6, as Reverie.
John Rewald, Gauguin, ed. André Gloeckner (1938; repr., New York: Hyperion Press, 1949), 112, 167, (repro.), as Rêverie.
“Events Here and There,” New York Times 88, no. 29,562 (January 1, 1939): 10X, as Reverie.
“Radio Programs,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 6, no. 1 (November 1939): 3.
“Her Master’s Life to be Dramatized,” Kansas City Star 60, no. 56 (November 12, 1939): 4D, (repro.), as Reverie.
“Collector’s Progress,” Kansas City Times 103, no. 3 (January 3, 1940): C.
R[eginald] H[oward] Wilenski, Modern French Painters (New York: Reynal and Hitchcock, [1940]), 131, 131n1, 351, as Rêverie (Mélancolique).
Harry B. Wehle, “French Painting from David to Toulouse-Lautrec: Loans from French and American Museums and Collections,” Bulletin of the Metropolitan Museum of Art 36, no. 2 (February 1941): 34, as Reverie.
“Museums, Art Associations, Other Organizations,” in “Covering Art Activities during July 1938-July 1941,” American Art Annual 35 (1941): 268, as Reverie.
The Metropolitan Museum of Art, French Painting from David to Toulouse-Lautrec: Loans from French and American Museums and Collections , exh. cat. (New York: George Grady Press, 1941), 17, (repro.) as Reverie.
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, 55, 168, (repro.), as Reverie.
Regina Shoolman and Charles E. Slatkin, The Enjoyment of Art in America: A Survey of the Permanent Collections of Painting, Sculpture, Ceramics and Decorative Arts in American and Canadian Museums; Being an Introduction to the Masterpieces of Art from Prehistoric to Modern Times (Philadelphia: J. B. Lippincott, 1942), 561, 623, 780, 785, (repro.), as Reverie.
Art News 42, no. 4 (April 1-14, 1943): 5, 17, (repro.), as Rêverie and Reverie.
“Nelson Gallery Celebrates First Decade,” Art Digest 18, no. 6 (December 15, 1943): 6, as Reverie.
Ethlyne Jackson, “Museum Record: Kansas City’s Tenth Birthday,”Art News 42, no. 15 (December 15-31, 1943): 16, as Réverie [sic].
“Loans to Others,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 12, no. 10 (Summer 1946): 4, as Reverie.
A Loan Exhibition of Paul Gauguin for the Benefit of the New York Infirmary , exh. cat. (New York: Wildenstein, 1946), 28, 64, (repro.), as Reverie.
Raymond Cogniat, Gauguin (Paris: Éditions Pierre Tisné, 1947), 51, (repro.), as Dreaming.
Fred G. Hoffherr et al., eds., Book of Friendship (New York: Maison de France, 1947), (repro.), as Reverie.
Dorothy Adlow, “Art in Kansas City: Music and Theaters; Exhibitions in San Francisco; Masterpieces of Many Schools To Be Seen in Nelson Gallery,”Christian Science Monitor 40, no. 197 (July 17, 1948): 12, as Reverie.
Maurice Malingue, Gauguin: Le Peintre et Son Œuvre (Paris: Presses de la Cité, 1948), 169, (repro.), as Rêverie.
Jean Leymarie, Gauguin: Exposition du Centenaire, exh. cat. ([Paris]: Éditions des Musées Nationaux, 1949), vi, 39, 98, (repro.), as Rêverie.
Jean Leymarie, “Musée de l’Orangerie: Exposition Gauguin,” Musées de France, no. 5 (June 1949): 112, as Rêverie.
Raymond Cogniat, “À l’Orangerie: L’Exposition Gauguin à Travers les Salles,” Arts, no. 222 (July 8, 1949): 8, as La rêverie.
Bernard Dorival, “Les Nouvelles Artistiques: Grandeur de Gauguin,”Les Nouvelles Littéraires, Artistiques et Scientifiques, no. 1142 (July 21, 1949): 7, as Rêverie.
Winifred Shields, “Gauguin Painting from Nelson Gallery in Paris Exhibition: ‘Reverie,’ a Portrait of Polynesian Wife, is Included in Retrospective Show Commemorating Centenary of Oil Masters [sic] Birth in Paris; Urge to Paint Leads to South Sea Island,” Kansas City Star 69, no. 343 (August 26, 1949): 11, as Reverie.
Denys Sutton, “The Paul Gauguin Exhibition,” Burlington Magazine 91, no. 559 (October 1949): 286n45, as Rêverie.
Alexander Watt, “The Centenary Exhibition of the Work of Gauguin,” Apollo 50, no. 296 (October 1949): 97.
Michael Sadleir, Michael Ernest Sadler (Sir Michael Sadler, K.C.S.I.), 1861-1943: A Memoir by His Son (London: Constable, 1949), 234, as Reverie.
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), 69, (repro,), as Reverie.
Lee Van Dovski [Herbert Lewandowski], Paul Gauguin, oder die Flucht vor der Zivilisation (Olten, Switzerland: Delphi Verlag, 1950), 348, as Rêverie.
Georg Schmidt, Gauguin (Bern: Alfred Scherz Verlag, 1950), 22, 31, (repro.), as Träumerei.
Jean Loize, Les Amitiés du Peintre Georges-Daniel de Monfreid et Ses Reliques de Gauguin: De Maillol et Codet à Segalen ([Paris]: Jean Loize, 1951), 147, as Tahitienne au rocking-chair.
Masterpieces from Museums and Private Collections: Jubilee Loan Exhibition, 1901-1951 , exh. cat. (New York: Wildenstein, 1951), (repro.), as Rêverie.
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; Begins Next Friday,” Kansas City Star 74, no. 78 (December 4, 1953): 36, as Reverie.
Jean Cassou, Les Impressionnistes et leur époque (Paris: Cercle français d’art, 1953), 28, 60, (repro.), as Rêverie.
Die Impressionisten und Ihre Zeit (Lucerne, Switzerland: Kunstkreis Verlag, 1953), 28, (repro.), as Träumerei.
Jean Taralon, Gauguin (Paris: Éditions du chêne, 1953), 6, 11, (repro.), as La Rêverie.
Paul Gauguin, Carnet de Tahiti, ed. Bernard Dorival (Paris: Quatre Chemins-Éditart, 1954), 1:17, 22-23, 28, 59n1; 2:2r, as Rêverie.
Paul Gauguin: His Place in the Meeting of East and West , exh. cat. (Houston: Museum of Fine Arts, 1954), unpaginated, as Reverie.
The Two Sides of the Medal: French Painting from Gérôme to Gauguin , exh. cat. (Detroit: Detroit Institute of Arts, 1954), 56, 65, (repro.), as Rêverie.
Aline B. Saarinen, “The Salon and Some Rebels: Detroit Art Institute Presents Provocative Contrast in Show,” New York Times 104, no. 35,316 (October 3, 1954): X11, as Reverie.
Possibly Lawrence and Elisabeth Hanson, Noble Savage: The Life of Paul Gauguin (New York: Random House, 1955), 208, as Daydream.
Roseline Bacou, Odilon Redon, vol. 1, La Vie et l’œuvre: Point de vue de la critique au sujet de l’œuvre (Geneva: Pierre Cailler, 1956), 207n5, as La Tahitienne au rocking-chair.
Gauguin: Loan Exhibition for the Benefit of the Citizens’ Committee for Children of New York City, Inc. (New York: Wildenstein, 1956), 17, 43, (repro.), as Reverie.
R. F. C., “Una mostra di Gauguin alla galleria Wildenstein di New York,” Emporium 124, no. 740 (August 1956): 77, as Reverie.
John Rewald, Post-Impressionism: From van Gogh to Gauguin, 3rd ed. (1956; New York: Museum of Modern Art, 1978), 465-66, (repro.), as Reverie.
Robert Goldwater, Paul Gauguin (New York: Harry N. Abrams, [1957]), 102-03, (repro.), as Reverie.
Henri Perruchot, Gauguin, Tahiti (New York: Tudor, 1958), (repro.), as Rêverie.
Charles S. Kessler, “Robert Goldwater, ‘Paul Gauguin’; John Rewald, ‘Gauguin Drawings’,” College Art Journal 18, no. 3 (Spring 1959): 275-76, as Reverie.
Gauguin: Paintings, Drawings, Prints, Sculpture, exh. cat. (Chicago: Art Institute of Chicago, 1959), 21, 41, 47, 61, (repro.), as Reverie (Mélancolique).
“Gauguin,” The Art Institute of Chicago Quarterly 53, no. 1 (February 1959): 4, as Reverie.
Edith Weigle, “Gauguin Art Display is Beautiful, Costly,” Chicago Daily Tribune 118, no. 36 (February 11, 1959): pt. 3, p. 5, as Reverie.
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), 124, 260, (repro.), as Reverie.
Horváth Tibor, Gauguin, 1848-1903 (Budapest: Képzőművészeti Alap Kiadóvállalata, 1960), 28, 36, (repro.), as Búskomorság (Ábrándozás).
Henri Perruchot et al., Paul Gauguin: Génies et Réalités (1961; repr., Paris: Chêne, 1986), 59, 232, as Rêverie.
Henri Perruchot, La Vie de Gauguin ([Paris]: Hachette, 1961), 252, 252n1, 404, as Rêverie.
Pierre-Francis Schneeberger, Gauguin: Tahiti, trans. Karl Balser (1961; repr., Lausanne: International Art Book, 1962), 26, 40, as Träumerei.
Richard S[Sampson] Field, Paul Gauguin: The Paintings of the First Voyage to Tahiti (1963; repr., New York: Garland, 1977), 304, 307, 334, (repro.), as Reverie (Melancolique) [sic].
Kuno Mittelstädt, ed., Paul Gauguin (Berlin: Henschelverlag, 1963), 14, as Träumerei.
Georges Boudaille, Gauguin (New York: Tudor, 1964), 124, 269, (repro.), as Reverie.
Bengt Danielsson, Gauguin in the South Seas, trans. Reginald Spink (1964; repr., Garden City, NY: Doubleday, 1966), 155, 164.
Man: Glory, Jest, and Riddle; A Survey of the Human Form through the Ages , exh. cat. (San Francisco: Neal, Stratford and Kerr, 1964), unpaginated, as Reverie.
Georges Wildenstein, Gauguin, vol. 1, Catalogue (Paris: Beaux-Arts, 1964), no. 424, pp. 165, 272, 281, (repro.), as Rêverie ou la Femme à la robe rouge.
Charles Chassé, Gauguin sans légendes (Paris: Éditions du temps, 1965), 115, (repro,), as Rêverie ou La Femme à la robe rouge.
Bengt Danielsson, “The Tahitian Eve,” Diplomat 17, no. 192 (May 1966): 31, (repro.), as Reverie.
Paul Gauguin, Noa Noa, ed., Jean Loize ([Paris]: André Balland, 1966), 35, 123, 156, 194, (repro.), as Mélancolique and Rêverie.
Joseph-Émile Muller and Frank Elgar, One Hundred Years of Modern Painting (New York: Tudor, 1966), 37, 175, (repro.), as Reverie.
Patrick O’Reilly, Catalogue du Musée Gauguin: Papeari, Tahiti (Paris: Fondation Singer-Polignac, 1966), 62, as Rêverie ou La Femme à la robe rouge.
Gaston Diehl, Gauguin, trans. Anne Ross (New York: Crown, [1967]), 27, 47, (repro.), as Reverie or Woman in Red Dress.
Giuseppe Marchiori, Gauguin, trans. Caroline Beamish (New York: Grosset and Dunlap, 1967), 34, (repro.), as Fantasy, or The Woman in a Red Dress.
Paul C. Nicholls, Gauguin (New York: Tudor, 1967), 26, (repro.), as Rêverie.
Alfred Werner, Paul Gauguin (New York: McGraw-Hill, 1967), 41-42, (repro.), as Reverie.
Françoise Cachin, Gauguin (Paris: Livre de Poche, 1968), 19, 218, 220, 365, 373, (repro.), as Rêverie ou La Femme à la robe rouge.
Bethel Bodine et al., eds., As I Grew Older (Menlo Park, CA: Addison-Wesley, 1969), 10, 63, (repro.), as Reverie.
Alan Bowness, Gauguin (London: Phaidon, 1971), 12, (repro.), as Reverie or The Woman in the Red Dress.
Denys Sutton, “The Colonel’s Gift,” Apollo 96, no. 130 (December 1972): 473, (repro.) [repr. in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), 5, (repro,) as Reverie].
Fabrizio Agustoni and Giulio Lari, Catalogo completo dell’opera grafica di Paul Gauguin (Milan: Salamon e Agustoni, 1972), 11, as Rêverie.
G[abriele] M[andel] Sugana, L’opera completa di Gauguin (Milan: Rizzoli, 1972), no. 272, pp. 102-03, 118, (repro.), as Donna in Abito Rosso (Il sogno).
Lee van Dowski [Herbert Lewandowski], “Probleme um Gauguin: Zum 125. Geburtstag des Malers am 8. Juni 1973,” Weltkunst 43, no. 11 (June 1, 1973): 918.
Linnea Stonesifer Dietrich, “A Study of Symbolism in the Tahitian Painting of Paul Gauguin: 1891-1893” (Ph.D. diss., University of Delaware, 1973), 139, 203, 278, as Rêverie.
Lee van Dowski [Herbert Lewandowski], Die Wahrheit über Gauguin: Mit vielen, zum Teil farbigen Abbildungen und einem “Katalog der Gemälde ” (Darmstadt, Germany: Josef Gotthard Bläschke Verlag, 1973), 268, as Rêverie.
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 , 5th ed., vol. 1, Art of the Occident (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 166, 258, (repro.), as Reverie.
Elda Fezzi and Fiorella Minervino, “Noa Noa” e il Primo Viaggio a Tahiti di Gauguin (Milan: Rizzoli, 1974), 80-81, 97, 166, (repro.), as Donna dall’abito rosso (Fantasticheria).
William M. Kane, “‘Mes Secrètes’: The Earlier Drawings of Paul Gauguin, 1873-1891,” (PhD diss., Boston University, 1975), 357, as Reverie.
Pierre Leprohon, Paul Gauguin (Paris: Grund, 1975), 210, 331, 398, as Tehamana en robe rouge.
Don Hoffmann, “Secret Donor Gives Nelson Gallery Two Major Works of Art,”Kansas City Star 98, no. 50 (November 6, 1977): 9, as Reverie [sic].
Jaroslav Sedlář, Paul Gauguin (1976; Bratislava, Slovakia: Pallas, 1979), 58-59, 105, 109, (repro.), as Snívanie.
Paul Gauguin: Das Druckgraphische Werk , exh. cat. (Dusseldorf: Wolfgang Wittrock, [1978]), 16, as Träumerei oder Frau in rotem Kleid.
Robert H. Terte, “The Phenomenal Nelson Gallery,” Antiques World 1, no. 3 (January 1979): 46.
Roger Cucchi, Gauguin à la Martinique: Le musée imaginaire complet de ses Peintures, Dessins, Sculptures, Céramiques, les Faux, les Lettres, les Catalogues d’Expositions (Vaduz, Liechtenstein: Calivran Anstalt, 1979), 66, as Rêveuse.
Elda Fezzi, Tout Gauguin, trans. Simone Darses, vol. 2, 1890-1903 (1979; repr., Paris: Flammarion, 1982), 3, 22, (repro.), as La Femme en rouge and La femme à la robe rouge (Rêverie).
Per Amann, Paul Gauguin (Ramerding, Germany: Berghaus Verlag, 1980), 37, 78, (repro.), as Träumerei.
Franck Doriac, “Le Mythe du Paradis Tahitien Fixe par Paul Gauguin,” vol. 2 (PhD diss., Université Paris 8-Vincennes, 1980), 236, 268-73, 275, 321, 355, as Rêverie ou la femme à la robe rouge.
Possibly Sophie Monneret, L’Impressionnisme et son Époque, vol. 3 (Paris: Éditions Denoël, 1980), 276, as Faaturuma.
M[ichel] Prevost and Roman d’Amat, Dictionnaire de Biographie Française, vol. 15 (Paris: Letouzey et Ané, 1980), 727, as Rêverie.
Joseph-Émile Muller, Gauguin (1981; repr., London: Eyre Methuen, 1982), 36, (repro.), as Rêverie.
G[abriele] M[andel] Sugana, Tout l’œuvre peint de Gauguin, trans. Simone Darses (Paris: Flammarion, 1981), no. 272, pp. 102-03, 119, as Rêverie ou la Femme à la Robe Rouge.
Possibly Irving Wallace et al., The Intimate Sex Lives of Famous People, rev. ed. (1981; repr., Port Townsend, WA: Feral House, 2008), 87, as Daydream.
Bill Marvel, “How good is the Nelson?” STAR Magazine, supplement,Kansas City Star 103, no. 186 (April 24, 1983): S26, as Reverie.
Georges Bernier, La revue blanche: Paris in the Days of Post-Impressionism and Symbolism , exh. cat. (New York: Wildenstein, 1983), 73, 84, (repro.), as La Rêverie.
Guy Godlewski, Ces Grands Esprits Fragiles (Paris: Éditions Robert Laffont, 1983), 191, as Rêverie.
Lukas Gloor, Von Böcklin zu Cézanne: Die Rezeption des französischen Impressionismus in der deutschen Schweiz (Bern: Verlag Peter Lang, 1986), 316n439.
Yann le Pichon, Sur les traces de Gauguin (Paris: Robert Laffont, 1986), 154-55, 261, (repro.), as Rêverie (La Femme à la robe rouge).
“Museums to Sports, KC Has It All,” American Water Works Association Journal 79, no. 4 (April 1987): 133.
Michael Hoog, Paul Gauguin: Life and Work, trans. Constance Devanthéry-Lewis (New York: Rizzoli, 1987), 156-57, (repro.), as Reverie.
Maurice Malingue, La Vie Prodigieuse de Gauguin (Paris: Éditions Buchet/Chastel, 1987), 183, 186, 221, as Rêverie ou La Femme à la Robe Rouge.
Marla Prather and Charles F. Stuckey, eds., Gauguin: A Retrospective (New York: Hugh Lauter Levin Associates, 1987), 160, (repro.), as Reverie.
Anna Barskaya and Marina Bessonova, Paul Gauguin in Soviet Museums , trans. Ashkhen Mikoyan (Leningrad: Aurora, 1988), 29, 32, (repro.), as Reverie, or the Woman in Red.
Richard Brettell et al., The Art of Paul Gauguin, exh. cat. (Washington: National Gallery of Art, 1988), 214, 220, 228-29, 231, 235n6, 239, 259, 265-66, 274, 516, (repro.), as Faaturuma (Melancholic or Reverie).
Brad Leithauser, “Gone Native,” Art and Antiques (May 1988): 68, (repro.), as Faaturuma (Dreamer).
Isabelle Cahn, Gauguin et le mythe du sauvage (Paris: Flammarion, 1988), 19, as Rêverie.
Isabelle Cahn, Paul Gauguin (Paris: Centre National de Documentation Pédagogique, 1988), 18, 26n39, as Rêverie.
Gauguin (Paris: Éditions Adam Biro, 1988), 58, (repo.), as Faaturuma ( Boudeuse).
Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 16, 108-09, (repro.), as Faaturuma (The Dreamer).
René Huyghe, Gauguin, trans. Helen C. Slonim (New York: Crown, 1988), 59, 96, (repro.), as Faaturuma. The Dreamer.
Rosalind Ragans, Art Talk, 3rd ed. (1988; New York: Glencoe/McGraw-Hill, 2000), 372, 446, 451, (repro.), as Faaturuma (Melancholic).
Véronique Prat, “Gauguin: Il a cherché toute sa vie le paradis perdu,” Le Figaro, no. 460 (January 7, 1989): 84-85, (repro).
Peter Cannon-Brookes, “Cézanne, Gauguin and a Picture Frame,” The International Journal of Museum Management and Curatorship 8, no. 1 (March 1989): 94, as Faaturuma.
Denys Sutton, “‘Gauguin… le loup sauvage sans collier,’”Gazette des Beaux-Arts 113, no. 1442 (March 1989): 145, as Faathuruma [sic].
Per Amann, Paul Gauguin, trans. Stephen Gorman (1989; London: Zachary Kwintner Books, 1991), 49, 100, (repro.), as Reverie.
Pierre Daix, Paul Gauguin ([Paris]: Éditions Jean-Claude Lattès, 1989), 220-21, 223, 398n21, 400n8, as Faaturuma.
Anna Maria Damigella, Gauguin (Florence: Giunti, 1989), 36, as Donna in abito rosso.
Marc S. Gerstein, Impressionism: Selections from Five American Museums, exh. cat. (New York: Hudson Hills Press, 1989), 11, 18, 20-21, 80-82, (repro.), as Faaturuma (Melancholic).
Günter Metken, Gauguin in Tahiti: The First Journey Paintings 1891-1893, trans. Michael Hulse (1989; repr., New York: W. W. Norton, 1992), 50-51, (repro.), as Faaturuma (Melancholy).
Rencontres Gauguin à Tahiti: Actes du Colloque, 20 et 21 Juin 1989 (Papeete, Tahiti: Aurea, [1989]), 80.
Toni Wood, “Expatriate paintings in Midwest,” Kansas City Star 110, no. 233 (June 3, 1990): G-5, as Faaturuma.
Rachel Barnes, ed., Gauguin by Gauguin (London: Bracken Books, 1990), 5, 44-45, 80, (repro.), as Reverie.
Jean Loize, Comment le Peintre Paul Gauguin fit une merveilleuse découverte de la Martinique: Ses Tableaux, Dessins, de 1887, Estampes, etc, Comment ce séjour écourté, avec Charles Laval, fera épanouir tout son Art, jusqu’au Pacifique (Anse Turin, Martinique: Édition du Musée-Mémorial Paul Gauguin, 1990), 62, 66, (repro.), as Rêverie.
Maria Grazia Messina, “Gauguin et les sources littéraires,” Gazette des Beaux-Arts 117, no. 1465 (February 1991): 107-08, (repro.), as Faaturuma.
“Education Insights: Adult Education,” Newsletter (The Nelson Atkins Museum of Art), no. 9 (September 1991): 6, as Faaturuma.
Anquetin: La Passion d’être Peintre , exh. cat. (Paris: Brame et Lorenceau, 1991), 11, 111, (repro.), as Rêverie (La dame à la robe rouge).
Russell T. Clement, Paul Gauguin: A Bio-Bibliography (New York: Greenwood Press, 1991), 71.
Michel Draguet, ed., Irréalisme et Art Moderne: Les Voies de l’Imaginaire dans l’Art des XVIIIe, XIXe et XXe Siècles; Mélanges Philippe Roberts-Jones (Brussels: Université Libre de Bruxelles, [1991]), 170, 186n26, as Femme à la robe rouge and Rêverie.
Musée d’Orsay, Gauguin: Actes du colloque Gauguin, Musée d’Orsay, 11-13 janvier 1989 (Paris: Documentation française, 1991), 20, 178, 180, 184n37, (repro.), as Tahitienne au Rocking chair and Faaturuma.
Possibly Paul Gauguin: ‘Te Faré’ (La maison) (Paris: Ader Tajan, 1991), unpaginated, as Faturuma [sic].
Michel Prévot, Gauguin le Japonais, exh. cat. (Tahiti: Éditions Avant et Après, 1991), 67, 69, (repro.), as Rêverie (la femme à la robe rouge).
Maria Grazia Messina, “Paul Gauguin all’Exposition Universelle del 1889: i disegni dell’Album Walter,” Storia dell’Arte 74 (January-April 1992): 94, 109n14, as Faaturuma (Boudeuse).
Helen D. Hume, Art History and Appreciation Activities Kit: Ready-to-Use Lessons, Slides and Projects for Secondary Students (West Nyack, NY: Center for Applied Research in Education, 1992), xiv, 15, 21-22, 245, as Faaturuma (Melancholic).
Manfred Koch-Hillebrecht, Museen in den USA: Gemälde (Munich: Hirmer Verlag, 1992), 244-45.
Alice Thorson, “The Nelson celebrates its 60th; Museum built its reputation, collection virtually ‘from scratch’,” Kansas City Star (July 18, 1993): J1.
Laurie Schneider Adams, Art and Psychoanalysis (New York: HarperCollins, 1993), ix, 131-33, (repro.), as Reverie (Faaturuma [Melancholic]).
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), 53, 76, 80n15, (repro.), as Faaturuma (Melancholic).
Bernard Denvir, The Chronicle of Impressionism: An Intimate Diary of the Lives and World of the Great Artists (London: Thames and Hudson, 1993), 279.
Karyn Elizabeth Esielonis, “Gauguin’s Tahiti: The Politics of Exoticism,” (PhD diss., Harvard University, 1993), 2, 37, 41, 192-96, 200, 250, (repro.), as Faaturuma (La Boudeuse).
Belinda Thomson, ed., Gauguin by Himself (Boston: Little, Brown, 1993), 199, 308, (repro.), as Faaturuma (Melancholic).
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, 1993), 211, (repro.), as Faaturuma (Melancholic).
Maria Costantino, Paul Gauguin (New York: Barnes and Noble Books, 1994), 5, 80-81, (repro.), as Te Faaturuma (Melancholic).
Stephen F. Eisenman, Nineteenth Century Art: A Critical History, 4th ed. (1994; London: Thames and Hudson, 2011), 458, as Faaturuma (Reverie).
Joan Minguet, Gauguin: His Life and Complete Works (1994; repr., Stamford, CT: Longmeadow Press, 1995), 107, (repro.), as Faaturuma (Dreams or Woman in a Red Dress).
Ziva Amishai-Maisels et al., Paul Gauguin e l’avanguardia russa, exh. cat. (Florence: Artificio Edizioni, 1995), 296, (repro.), as La sognatrice o Donna in abito rosso.
Anna Barskaya et al., Paul Gauguin: Mysterious Affinities (Bournemouth, UK: Parkstone, 1995), 46, as Reverie.
Douglas Druick and Peter Zegers, Paul Gauguin: Pages from the Pacific, exh. cat. (Chicago: Art Institute of Chicago, 1995), 25, 51, (repro.), as Faaturuma (Reverie).
Serge George, Paul Gauguin (Lausanne, Switzerland: EDITA, 1995), 32, 199, 334, (repro.), as Rêverie ou La Femme à la robe rouge.
Dorothy Kosinski et al., From Manet to Gauguin: Masterpieces from Swiss Private Collections , exh. cat. (London: Royal Academy of Arts, 1995), 29, as Reverie.
Dewey F. Mosby , Across Continents and Cultures: The Art and Life of Henry Ossawa Tanner , exh. cat. (Kansas City, MO: The Nelson-Atkins Museum of Art, 1995), 42, as Faaturuma (Melancholic).
David Sweetman, Paul Gauguin: A Life (New York: Simon and Schuster, 1995), 302.
“Music Teachers National Association National Convention, March 23-27, 1996, Kansas City, Missouri,” American Music Teacher 45, no. 4 (February-March 1996): 23.
Anne-Pascale Bruneau, “Aux sources du post-impressionnisme: Les expositions de 1910 et 1912 aux Grafton Galleries de Londres,” Revue de l’art, no. 113 (1996): 13n5, as Rêverie (La Femme à la Robe Rouge).
Melanie O’Brian, “The Gendering of Primitivism in the Work of Paul Gauguin” (BA thesis, Reed College, 1996), 40, (repro.), as Faaturuma.
Gary Tinterow et al., Corot, exh. cat. (New York: Metropolitan Museum of Art, 1996), 314-15, (repro.), as Faaturuma (Melancholic).
Anna Maria Damigella, Paul Gauguin: La vita e l’opera (Milan: Arnoldo Mondadori Editore, 1997), 25, 141, 146, (repro.), asFaaturuma (Malinconica; La donna con vestito rosso ).
Anna Gruetzner Robins, Modern Art in Britain, 1910-1914, exh. cat. (London: Merrell Holberton, 1997), 28, as Reverie.
Alfred Welti, “Paul Gauguin: Suche nach dem Paradies,”Art das Kunstmagazin, no. 6 (June 1998): 32-33, (repro.), as Faaturuma (Melancholie).
1894-1908: Le Roussillon à l’origine de l’art moderne , exh. cat. (Montpellier: Indigène éditions, 1998), 17, as Tahitienne en rocking-chair.
Gabriele Crepaldi, Gauguin, trans. Sylvia Tombesi-Walton (1998; London: Dorling Kindersley, 1999), 84-85, 137, (repro.), as Faaturuma (Rêverie).
Pierre Daix, Pour une Histoire Culturelle de l’Art Moderne: De David à Cézanne (Paris: Éditions Odile Jacob, 1998), 344, 344n20, as Faaturuma (Boudeuse).
Martine Regnault Leclerc, “Étude des Traces Écrites dans l’Œuvre de Paul Gauguin,” (PhD diss., Université de Bourgogne, 1998), 148 [repr. in Martine Regnault, Paul Gauguin: La trace écrite (Dijon: Éditions Universitaires de Dijon, 2005), 21].
Naomi Margolis Maurer, The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent van Gogh and Paul Gauguin (Madison: Fairleigh Dickinson University Press, 1998), xiv, 142, (repro.), as Faaturuma (Melancholy).
Luc Legeard, “Paul Gauguin en Nouvelle-Calédonie,” Société d’Études Historiques de la Nouvelle-Calédonie, no. 121 (1999): 24, as Faaturuma (Mélancolie).
Dorothy Kosinski, The Artist and the Camera: Degas to Picasso, exh. cat. (New Haven: Yale University Press, 1999), 136-37, 139-40, 313 (repro.), as Melancholic (Faaturuma).
Sarah Boxer, “Of Artists and Photos, Both Rivals and Allies,” The New York Times 149, no. 51,331 (March 18, 2000): B7, (repro.), as Melancholic (Faaturuma).
Possibly Jean-Luc Coatalem, In Search of Gauguin, trans. Liz Heron (2001; London: Weidenfeld and Nicolson, 2004), 186.
Cornelia Homburg, Vincent van Gogh and the Painters of the Petit Boulevard, exh. cat. (Saint Louis: Saint Louis Art Museum, 2001), 147, 241, (repro.), as Faaturuma.
Colta Ives and Susan Alyson Stein , The Lure of the Exotic: Gauguin in New York Collections, exh. cat. (New York: Metropolitan Museum of Art, 2002), 168-69, 230n82, 230n91, as Faaturuma (Reverie).
Claire Frèches-Thory and George T.M. Shackelford, Gauguin, Tahiti: l'atelier des tropiques, exh. cat. (Paris: Réunion des musées nationaux, 2003), 57-58, (repro.), as Te faaturuma (La Boudeuse).
Bernard Géniès, Gauguin: le rêveur de Tahiti (Paris: Librairie Arthème Fayard, 2003), 212-13, as Faaturuma (Boudeuse ).
Donald Kuspit and Markus Brüderlin, Expressive!, exh. cat. (Riehen, Switzerland: Fondation Beyeler, 2003), 34-35, 190, (repro.), as Melancholic and Faaturuma (Boudeuse).
Paule Laudon, Tahiti-Gauguin: Mythe et vérités (Paris: Société nouvelle Adam Biro, 2003), 72-73, 75, (repro.), as La Femme à la robe rouge ou Rêverie.
Fiorella Nicosia, Paul Gauguin (Florence: Giunti Gruppo Editoriale, 2003), 80, as Faaturuma (Malinconica).
Paul Gauguin (London: Sirrocco, 2003), 34-35, 80, (repro.), as Faaturuma (Woman with a Red Dress or the Sulky Woman).
Anna Barskaya, Paul Gauguin (Hoo, UK: Grange Books, 2004), 39, 42-43, (repro.), as Faaturuma (Woman with a Red Dress or The Sulky Woman).
Anna Maria Damigella, La Natura, l’Uomo, il Mito nell’Immaginario dei Simbolisti (Rome: Lithos, 2004), 80, as Malinconica.
Guillermo Solana, Paul Gauguin (Madrid: Arlanza Ediciones, 2004), 64-65, as Faaturuma.
Anna Maria Damigella, Gauguin a Tahiti (Florence: Giunti, 2005), 12-13, (repro.), as Donna in abito rosso (Il sogno).
Legacy: A Tradition Lives On; Four Generations of Artists, exh. cat. (Florence: Grafiche Gelli, [2005?]), 7-8, (repro.), as Faaturuma (Melancholic).
“Vibrant Galleries Offer Fresh View of European Art,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 7, as Faaturuma (Melancholic).
Christophe André, De L’art du Bonheur: 25 leçons pour être heureux (Paris: Iconoclaste, 2006), 82-83, 98-99, 103-04, (repro.), asFaaturuma (La Femme à la robe rouge, ou Boudeuse ).
[Emmanuel] Bénézit, Dictionary of Artists, vol. 5 (Paris: Éditions Gründ, 2006), 1399, as Faaturuma (Melancholic).
Richard R. Brettell and Stephen F. Eisenman, Nineteenth-Century Art in the Norton Simon Museum, vol. 1 (New Haven: Yale University Press, 2006), 380, 466, (repro.), as Faaturuma (Melancholic).
Angela Denier, “Paul Gauguin, ‘Ta Matete’ (1892): die Suche nach dem Paradies; das Verlorene Paradies” (MA thesis, Universität Zürich, 2006), 14, 14n11, 88, 95, (repro.), as Faaturuma.
Jill Franks, Islands and the Modernists: The Allure of Isolation in Art, Literature, and Science (Jefferson, NC: McFarland, 2006), 57, as Reverie.
Maria Grazia Messina, Paul Gauguin, un esotismo controverso (Florence: Firenze University Press, 2006), 54, 68, as Faaturuma and Malinconia.
Jonathan Pascoe Pratt, “Ambroise Vollard: Dealer and Publisher 1893-1900,” (PhD diss., The Courtauld Institute of Art, 2006), 46, 46n54, 46n55, as Rêverie and La femme à la rob rouge.
Rebecca A. Rabinow, ed., Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde, exh. cat. (New York: Metropolitan Museum of Art, 2006), 315, 321, as Rêverie and Femme dans un fauteuil.
Pierre Sanchez, Dictionnaire du Salon d’Automne: Répertoire des Exposants et Liste des Œuvres Présentées , vol. 2 (Dijon: Échelle de Jacob, 2006), 579, as Rêveuse.
Seema Srivastava, “Fashioning the Decorative Body in Late Nineteenth-Century English and French Painting: Artifice, Color and Style” (PhD diss., New York University, 2006), xvii, 195-97, (repro.), as Faaturuma (Melancholic).
Éric Alliez, L’œil-cerveau: nouvelles histoires de la peinture moderne (Paris: J. Vrin, 2007), 347, 347n6, as Faaturuma (Mélancolique ou Rêverie).
Corot: Souvenirs et variations , exh. cat. (Tokyo: Musée national d’art occidental, 2008), 155, as Faaturuma.
Fred Leeman, Clarion Call of Modern Art: The Nabis in the Collection of the Triton Foundation , trans. Sue McDonnell (The Hague: Gemeentemuseum, 2008), 34-35, (repro.), as Faaturuma (Melancholic musing).
Impressionist and Modern Art: Evening Sale (New York: Christie’s, 2008), 28, (repro.), as Faaturuma.
Anna Mazzanti and Eliana Princi, Gauguin e la scuola di Pont-Aven: Vincent Van Gogh, Maxime Maufra, Charles Laval, Paul Sérusier, Charles Filiger, Émile Bernard, Maurice Denis (Florence: Il Sole 24 Ore, 2008), 7, 257, 259-61, (repro.), as Sogni (Donna con abito rosso).
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), xii, 35, 125, (repro.), as Faaturuma (Melancholic).
Anna Gruetzner Robins, “‘Manet and the Post-Impressionists’: A Checklist of Exhibits,” Burlington Magazine 153, no. 1293 (December 2010): 786, as Reverie and Faaturuma.
Nathalia Brodskaïa, Post-Impressionism (2010; repr., New York: Parkstone International, 2012), 134, 196, (repro.), as Faaturuma (Melancholic).
Kerstin Thomas, Welt und Stimmung bei Puvis de Chavannes, Seurat und Gauguin (Berlin: Deutscher Kunstverlag, 2010), 104, 191, (repro.), as Faaturuma / Rêverie, Melancholie (Boudeuse).
Alastair Wright and Calvin Brown, Gauguin’s Paradise Remembered: The Noa Noa Prints, exh. cat. (Princeton: Princeton University Art Museum, 2010), 56-57, (repro.), as Faaturuma (Melancholic or Reverie).
Suzanne Greub, ed., Gauguin, Polynesia, exh. cat. (Munich: Hirmer Verlag, 2011), 163-64, 171n16, 191, 364, (repro.), as Faaturuma (Melancholic).
The Paintings of Paul Gauguin: Bretagne, Provence, Martinique, Tahiti and the Marquesas (1887-1903) (United States: ThaiSunset Publications, 2011), 142-43, (repro.), as Faaturuma (Melancholic).
Magali Rougeot, “Gustave Fayet (1865-1925): Itinéraire d’un Artiste Collectionneur,” vol. 1 (PhD diss., École du Louvre, 2011), 161, as Faaturuma and Femme à la robe rouge.
Patricia Failing, “The Polynesian Connection? Polynesian Objects Were Given Equal Status with Gauguin’s Work in a Groundbreaking and Subversive Exhibition,” ARTnews 111, no. 6 (June 2012): 50-51, (repro.), as Faaturuma (Melancholic).
P[ierre]-M[arc] de Biasi et al., eds., La fabrique du titre: Nommer les œuvres d’art (Paris: CNRS Éditions, 2012), 208, 215, 215n30, 216, 218, 236, as Rêverie ou La Femme à la robe rouge and Faaturuma.
Isabelle Cahn and Eckhard Hollmann, Paul Gauguin (Munich: Klinkhardt and Biermann, 2012), 15-17, 46n16, 46n20, (repro.), as Faaturuma (Melancholisch).
Ángeles Caso, Gauguin: El Alma de un Salvaje (Barcelona: Lunwerg, 2012), 156-57, (repro.), as Te Faaturuma (Melancolía).
Carmen Cámara Fernández, Gauguin: El Simbolismo de le exótico (Madrid: Editorial LIBSA, 2012), 314, (repro.), as Faaturuma (Mujer enfadada o El silencio).
Alice Miller Phillips, “The Invisible Labor: Nineteenth-Century Art, the Unconscious, and the Origins of Surrealism,” (PhD diss., University of Iowa, 2012), viii, 84-85, 115, (repro.), as Faaturuma (Melancholic).
Elizabeth C. Childs, Vanishing Paradise: Art and Exoticism in Colonial Tahiti
(Berkeley: University of California Press, 2013), 52-53, 119-21, 124-25,
224, 268n69, 268n70, 268n72, 268n75, 269n81, 297, (repro.), as Melancholic (Faaturuma).
Timothy O. Benson, Expressionism in Germany and France: From Van Gogh to Kandinsky,
exh. cat. (Los Angeles: Los Angeles County Museum of Art, 2014), 50,
(repro.), as Melancholic.
Raphaël Bouvier and Martin Schwander, eds., Paul Gauguin, exh. cat. (Basel: Beyeler Museum, 2015), 84-85, 185, 189, 210, 217, 219, (repro.), as Faaturuma / Boudeuse (The Brooding Woman).
Stéphane Guibourgé et al., Gustave Fayet: L’œil souverain (Paris: Éditions du Regard, 2015), 31, 230, as Te Faaturuma (La femme boudeuse à la robe rouge).
Marianne Jakobi, Gauguin-Signac: La genèse du titre contemporain (Paris: CNRS Éditions, 2015), 95, 106, 108, 136, (repro.), asRêverie ou La Femme à la robe rouge and Faaturuma.
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): unpaginated.
Richard R. Brettell and Genevieve Westerby, “ Gauguin, Cat. 50, Merahi metua no Tehamana (Tehamana Has Many Parents or The Ancestors of Tehamana) (1980.613): Commentary ,” in Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago , eds. Gloria Groom and Genevieve Westerby (Chicago: Art Institute of Chicago, 2016), para. 5, (repro.), https://publications.artic.edu/gauguin/reader/gauguinart/section/140288.
Suzanne Folds McCullagh, “Gauguin, Cat. 46, Crouching Tahitian Woman (recto), Seated Tahitian Woman (verso) (1944.578R/V): Commentary,” in Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago , eds. Gloria Groom and Genevieve Westerby (Chicago: Art Institute of Chicago, 2016), para 2, (repro.), https://publications.artic.edu/gauguin/reader/gauguinart/section/140287.
Mercedes Palau-Ribes and Brigitte Payrou-Neveu, eds., Gauguin, Monfreid, Vollard: Correspondances croisées (Céret, France: Éditions Alter ego, 2016), 41, 41n63, 42, 45, 45n72, 48, 48n76, 49, 49n77, 135, as Faaturuma (Boudeuse).
Cornelia Homburg and Christopher Riopelle, eds., Gauguin: Portraits, exh. cat. (Ottawa: National Gallery of Canada, 2019), 140-41, 159n22, 256, (repro.), as Melancholic (Faaturuma).
