Landscape Album: Five Leaves by Shen Zhou, One Leaf by Wen Zhengming
The Arts of the Ming Dynasty, Detroit Institute of Arts. April-June 1952, no. 12-17.
Chinese Landscape Painting, Cleveland Museum of Art, November 4-December 26, 1954, nos. 53-53a.
Chinese Art, Smith College Museum of Art, Northampton, MA. January 8-26, 1962.
Friends of Wen Cheng-ming: A View from the Crawford Collection, Seattle Art Museum. July 24-September 14, 1975.
Wen Cheng-Ming, University of Michigan, Museum of Art. January 25-February 29, 1976; The Asia House Gallery, New York, April 7-June 7, 1976, no. II.
Eight Dynasties of Chinese Painting, Nelson-Gallery-Atkins Museum, Kansas City, November 7, 1980 – January 4, 1981; The Cleveland Museum of Art, February 11 – March 29, 1982, no. 154.
Circa 1492: Art in the Age of Exploration, National Gallery of Art, October 12, 1991-January 12, 1992.
Chinese Ming Painting, The Nelson-Atkins Museum of Art, Kansas City, MO, May 12- August 29, 1993 .
The Chinese Painter As Poet, China Institute Gallery, New York, NY, September 14 – December 10, 2000.
Ming Paintings through the Eyes of Connoisseurs, Spencer Museum of Art, Lawrence, KS, January 20- March 4, 2001.
Landscapes
East | Landscapes West: Representing Nature from Mount Fuji to Canyon de
Chelly, The Nelson-Atkins Museum of Art, Kansas City, MO, August 27, 2011-
February 26,2012.
Emperors, Scholars and Temples: Tastemakers of China’s Ming and Qing Dynasties, The Nelson-Atkins Museum of Art, August 12, 2016 – January, 2017.
Xie Lansheng, Changxingxing zhai shuhua tiba (Macao, n.d.: reprint of MS copy), 27-28.
Pan Zhengwei, Tingfanlou shuhuaji, n.p., preface dated 1843. Supplement, 1849, ch. Xia, 565-568.
Laurence Sickman, “The Unsung Ming” Art News, col. XLV, no. 9 (Nov. 1946), 24-25. (repro.).
Hugo Munsterberg, A Short History of Chinese Art (East Lansing, Mich: 1949), pl. 48. (repro.).
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),145.
Jean-Pierre Dubosc, “A New Approach to Chinese Painting” Oriental Art, Vol. III, no. 2 (1950), 51, fig. 1. (repro.).
The Arts of the Ming Dynasty (Detroit: 1952), nos. 12-17, p. 9. (repro.).
Sherman E. Lee, Chinese Landscape Painting (The Cleveland Museum of Art: 1954), nos. 53-53a, 78-79, 150. (repro.).
Hugo Munsterberg, The Landscape Painting of China and Japan (Tokyo: 1955), 67-68, pls. 54-55. (repro.).
Sherman E. Lee, “Some Problems in Ming and Ch’ing Landscape Paintings”, Ars Orientalis, vol. II (1957), pl. 6, fig.9.
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),203.
John K. Fairbank and Edwin O. Reischauer, East Asia The Great Tradition (Boston: 1960), pl. 35.
Ira Moskowitz, Great Drawings of All Time, vol. IV (New York: 1962), pl. 901.
Richard Edwards, The Field of Stones: A study of Art of Shen Chou ( 1427-1509), Smithsonian Institution, Freer Gallery of Art, Oriental Studies no. 5, ( Washington: 1962), no. XXIV, pls. 14B, 17A, 18A, 18B, 19A.
Laurence Sickman and Alexander Sope, The Art and Architecture of China. Series: The Pelican History of Art (Pevsner, Harmondsworth: 1956, 1960, 1968), 176-77, pls. 132-33; paperback ed., 1971,
Sherman E. Lee, A History of Far Eastern Art (New York: 1964, 1973), 433-435, fig. 574-576.
The Horizon Book of the Arts of China, By the Editors of Horizon Magazine (New York: 1969), 160.
Ross E. Taggart, George L. McKenna, and Marc F. Wilson, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. II, Art of the Orient. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 63.
Marc F. Wilson, “ The Chinese Painter and his Vision”, Apollo, special issue for the Asian art collection in the Nelson-Atkins Museum of Art, Vol. XCVII, no. 133 (March 1973):234-236, fig.9.
Michael Sullivan, The Arts of China, (Berkeley: University of California Press, 1973), 195, fig. 173.
Terukazu Akiyama, et.al., ed. Chugoku bijutsu [ Chinese art in Western collections], Kaiga [ paintings]: v. II, ed. Kei Suzuki and Teisuke Tosa, ( Tokyo: 1973), 233,pl. 17-18.
Michael Sullivan, The Three Perfections (London: 1974), pl. 29-30.
Marc F. Wilson, and Kwan S. Wong, Friends of Wen Cheng-ming: a View from the Crawford Collection Exh. Cat., China House Gallery, (Oct. 24- Jan.26, 1975), New York, 1974), 27, fig. 3.
Richard Edwards, The Art of Wen Cheng-ming (1460-1559) (exhibition catalogue) The University of Michigan Museum of Art, (Ann Arbor, 1976) no. II, 28-34, illus. II A-F.
The Christian Science Monitor (Dec. 16, 1976), 28.
Kawakami Kei and Tsuruta Takero, Chugoku no meiga, Sekai bijutsu, Vol. X (Tokyo: 1977), X: 38-39.
Edmund Capon, Chinese Painting (Oxford: Phaidon Giant Art paperbacks, 1979), 34.
Janet Gaylord Moore, The Eastern gate, (Cleveland & New York: 1979), 60.
Michael Sullivan, Symbols of Eternity: The Art of Landscape Painting in China (Stanford: Stanford University Press, 1979), 122, fig. 72.
William Watson, L’Art de L’Ancienne Chine. Editions d’Ar Lucien Mazenod, (Paris: 1979), 452, no. 544.
Wai-Kam Ho, et al., Eight Dynasties of Chinese Painting: The Collections of the Nelson Gallery-Atkins Museum, Kansas City, and The Cleveland Museum of Art. (The Cleveland Museum of Art in cooperation with Indiana University Press, c1980), 185, no. 154B. (repro.)
Shigeo nakamura, Chin Shu-jin to geijutsu [Shen Chou, the man and his art] ( Kyoto: Bunkado Shoten, 1982) catalog no. 56; no. 1, p. 231; no. 2. p. 231; no. 3, p. 233; no. 4, p. 233; no. 5, p. 234.
Jerome Silbergeld, Chinese Painting Style (Seattle: University Washington press, 1982) leaf D: fig.33.
Ojibutsu, no. 64, (Tokyo, October, 1982), 44. Howard Rogers “Chinese Painting: ( 1) trans. Y. Shimizu, 45-61.
Haiwai yizhen (Chinese Art in Overseas Collections): painting II (Taipei: National Palace Museum, 1988), pl. 50a-e.
Ellen R. Goheen, The Collection of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, Inc., 1988), cat. 106.
Parabola (The Magazine of Myth and Tradition); Solitude and Community (1991). Cover.
“Handscroll Oriental Art…”, Oriental Art magazine vol. 39? #3 (Autumn 1993), 20-27, fig.
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), 324.
Jonathan Chaves, The Chinese Painter As Poet, China Institute Gallery, (New York: China Institute Gallery, China Institute; Distributed by Art Media Resources, 2000).
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), 358, fig.231.
Recorded:
Xie Lansheng, Changxingxing zhai shuhua tiba (Macao, n.d. reprint of MS. Copy), 27-28.
Pan, Zhengwei, Tingfanlou shuhua ji [Notes on calligraphy and painting in the Tingfan pavilion]. n.p., preface dated 1843. Supplement, 1849, ch. Xia, pp. 565-568.
