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267:(1906) in the collection of the Metropolitan Museum of Art. In the 1920s, his works commanded very high prices and he was recognized as one of the most respected and financially successful American painters. He was prolific, consistent, and highly skilled. Art history texts routinely cited him as one of America's greatest artists. Important collectors like Duncan Phillips were eager to buy his latest drawings, watercolors, and oil paintings.
263:, helped him to hone his color sense and refine his brushwork. By the time he was in his forties, Davies had definitively proved his in-laws wrong and, represented by a prestigious Manhattan art dealer, William Macbeth, was making a comfortable living. His reputation at the time, and still today (to the extent that he is known at all), rests on his ethereal figure paintings, the most famous of which is
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as such." With these masterfully disingenuous words, Davies pretended that the men who had brought some of the most radical contemporary art to the United States were merely offering
Americans an opportunity for a dispassionate viewing experience. In reality, Davies, Kuhn, and Pach knew that their bold project was likely to alter, decisively and permanently, the cultural landscape of America.
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203:, renouncing any claim on his wife's money in the event of divorce. (Davies would eventually become very wealthy through the sale of his paintings, though his prospects at thirty did not look encouraging.) Appearances notwithstanding, they were anything but a conventional couple, even aside from the fact that Davies was of a
324:, patron to many modern artists, regarded Davies as more broadly knowledgeable about contemporary art than anyone he knew. Davies also served as an advisor to many wealthy New Yorkers who wanted guidance about making purchases for their art collections. Two of those collectors were Lizzie P. Bliss and
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and the radical simplifications of the
Cubists would engage Davies' sympathies," but so they did. His subsequent work attempted to merge stronger color and a Cubist sense of structure and Cubist forms with his on-going preoccupation with the female body, delicate movement, and an essentially romantic
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Arthur B. Davies is an anomaly in
American art history, an artist whose own lyrical work could be described as restrained and conservative but whose tastes were as advanced and open to experimentation as those of anyone of his time. (His personal art collection at the time of his death included works
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Wright, pp. 86-87. Wright notes: "Miss Bliss was more than a patron; she was a confidante, and one of the few people with whom he could be himself. Despite the disapproval of her family, who felt that such conduct was indiscreet in a spinster past forty, she would visit him in his studio, play the
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magazine, Davies wrote: "In getting together the works of the
European Moderns, the Society has embarked on no propaganda. It proposes to enter on no controversy with any institution ... Of course, controversies will arise, but they will not be the result of any stand taken by the Association
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nature. Virginia had eloped when she was young and had murdered her husband on her honeymoon when she discovered that he was an abusive drug addict and compulsive gambler, a fact that she and her family kept from Davies. With
Virginia, Davies had two sons, Niles and Arthur. When Davies died in 1928,
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in the collection of the
Whitney Museum of American Art.) "Mr. Davies takes his Cubism lightly," a sympathetic critic wrote in 1913, acknowledging a view, held then and now, that Davies' Cubist-inspired paintings have an elegant appeal but are not in the more rigorous or authentic spirit of Cubism
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Yet Davies made enemies as well. His role in organizing the Armory Show, a massive display of modern art which proved somewhat threatening to
American realists like Robert Henri, the leader of The Eight, showed a forceful side to his character that many in the art world had never seen. With fellow
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An urbane man with a formal demeanor, Davies was "famously diffident and retiring". He would rarely invite anyone to his studio and, later in life, would go out of his way to avoid old friends and acquaintances. The reason for Davies' reticence became known after his sudden death while vacationing
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By 1918, Davies returned, in large part, to his earlier style. Kimberly Orcutt plausibly speculates that Davies found the mixed reactions (and sometimes very negative responses) to his more modernist explorations distressing and so "returned to the style that was expected of him, the one that had
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and publicizing the exhibition in New York and later in
Chicago and Boston. Those who did not fully support the venture or expressed any reservations, like his old colleague Henri, were treated with contempt. Davies knew in which direction the tide of art history was flowing and displayed little
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Within a year of his marriage, Davies' paintings began to sell, slowly but steadily. In turn-of-the-century
America, he found a market for his gentle, expertly painted evocations of a fantasy world. Regular trips to Europe, where he immersed himself in Dutch art and came to love the work of
195:, one of New York State's first female physicians. Her family, suspecting that their daughter might end by being the sole breadwinner of the family if she was to marry an impoverished artist, insisted that the
164:, the son of David and Phoebe Davies. He was keenly interested in drawing when he was young and, at fifteen, attended a large touring exhibition in his hometown of American landscape art, featuring works by
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brought him praise and prosperity." A traditionalist, a visionary, an
Arcadian fantasist, an advocate for Modernism: varied and seemingly contradictory designations describe Arthur B. Davies.
343:'s 1912 trip to Europe, which resulted in a major phase of Hartley's career. He recommended to his own dealer financially strapped artists whose talent he believed in, like Rockwell Kent.
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292:, a group of painters who in 1908 mounted a protest against the restrictive exhibition practices of the powerful, conservative National Academy of Design. Five members of the Eight—
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421:. His involvement with the Armory Show and prolonged exposure to European Modernism, however, changed his outlook utterly. As art historian
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Davies was quietly but remarkably generous in his support of fellow artists. He was a mentor to the gifted but deeply troubled sculptor
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405:, he had developed a unique decorative style. He was completely eclectic," with influences that ranged from Hellenistic Greek art to
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Visionary modernist impresario : a look at Arthur B. Davies and his world, 1900-1928 : panel discussion, 1981 March 27
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In an official statement for a pamphlet that was sold at the Chicago venue of the Armory Show and later reprinted in
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417:. A painter of dream-like maidens and "frieze-like idylls," he was most often compared to the French artist Pierre
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401:.) As art historian Milton Brown wrote of Davies' early period, "A product of the Tonalist school and
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in Italy in 1928: his second family with Edna, a secret kept from Virginia for twenty-five years.
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Landscape with Clouds, pastel and black chalk on green-gray wove paper (15.6 x 26.8 cm)
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Biographical information for this entry is taken from Bennard B. Perlman and Brooks Wright.
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American artist and influential advocate of modern art in the United States c. 1910–1928.
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172:. The show had a profound effect on him. He was especially impressed by Inness's
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332:, whose Davies-guided collections eventually became a core part of that museum.
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Kimberly Orcutt, "The Problem of Arthur B. Davies" in Elizabeth Kennedy (ed.),
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Kimberly Orcutt, "The Problem of Arthur B. Davies" in Elizabeth Kennedy (ed.),
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339:, whom he rescued from dire poverty and near-starvation. He helped finance
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Across the Valley, pastel on bright blue Japanese paper (18.9 x 27 cm)
188:. He worked as a magazine illustrator before devoting himself to painting.
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donated to the Metropolitan Museum of Art. Oil on canvas, 65.7 Ă— 101.3 cm
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landscapes. After his family relocated to Chicago, Davies studied at the
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House on Hillside, pastel on dark gray-green paper (19.5 x 25.4 cm)
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Virginia discovered that he had kept hidden a second life, with another
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untitled landscape with three single trees, pastel and chalk on paper,
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Boats at Evening, pastel on light tan wove paper (14.6 x 22.5 cm)
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untitled black & white chalk landscape, pastel and chalk on paper,
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The Artist and the Unicorn: The Lives of Arthur B. Davies, 1862–1928.
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untitled landscape with purple mountains, pastel and chalk on paper,
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320:(1873–1939) painted in a different, less realistic style. His friend
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Blue Landscape, pastel on dark blue wove paper (16.5 x 29.4 cm)
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Boat in Distress, pastel on dark gray wove paper (26 x 31.1 cm)
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Autumn Woods, pastel on dark brown wove paper (18.4 x 27.8 cm)
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Untitled (seated woman), watercolor and gouache on paper (1889),
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Bear Island Light, pastel on blue wove paper (26 x 31.6 cm)
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Davies was also the principal organizer of the legendary 1913
1529:"The Death of Arthur B. Davies" in Daniel Catton Rich (ed.),
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wrote, " could scarcely have guessed that the bold colors of
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piano , talk about music and listen to his ideas about art."
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For & Against: Views on the Infamous 1913 Armory Show,
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untitled landscape with trees, pastel and chalk on paper,
184:, before moving to New York City, where he studied at the
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American Painting from the Armory Show to the Depression.
1772:(full pdf) from The Metropolitan Museum of Art Libraries
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Blue Thicket, pastel on gray paper (18.6 x 27.8 cm)
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New York: Historical Society of Rockland County, 1978.
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American Visions: The Epic History of Art in America.
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Archives of American Art, the Smithsonian Institution
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High Point, pastel on gray paper (18.7 x 33 cm)
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1726:Albany: State University of New York Press, 1998.
1558:(New York: Farrar, Straus, Giroux, 1983), p. 163.
312:(1876–1953)—were Ashcan realists, while Davies,
817:untitled landscape, pastel and chalk on paper,
148:(September 26, 1862 – October 24, 1928) was an
1724:The Lives, Loves, and Art of Arthur B. Davies.
1685:Burroughs, A. "The Art of Arthur B. Davies".
368:tolerance for those who could not keep pace.
8:
1682:Princeton: Princeton University Press, 1955.
575:, oil on paper adhered to canvas (c. 1905),
1719:Chicago: University of Chicago Press, 2009.
1698:Chicago, University of Chicago Press, 1979.
1432:, formerly Randolph-Macon Woman's College (
857:untitled pastel, pastel and chalk on paper
180:from 1879 to 1882 and briefly attended the
1531:The Flow of Art: Essays and Criticisms of
393:as well as major European modernists like
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29:
1731:American Painters of Yesterday and Today
1536:(New York: Atheneum, 1975), pp. 247-249.
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1770:Arthur Bowen Davies exhibition catalogs
1733:, privately printed in New York, 1919.
1710:Modern American Painting and Sculpture.
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1830:Art Students League of New York alumni
1780:Institute of Contemporary Art, Boston
1075:Hirshhorn Museum and Sculpture Garden
710:, watercolor & gouache on paper,
671:, watercolor & gouache on paper,
7:
1611:Tucson: HolArt Books, 2009, pp. 1-2.
697:, watercolor and gouache on paper,
1366:Westmoreland Museum of American Art
1855:20th-century American male artists
1845:19th-century American male artists
1717:The Eight and American Modernisms.
1588:The Eight and American Modernisms,
1518:The Eight and American Modernisms,
1065:Fine Arts Museums of San Francisco
1053:Ruth Chandler Williamson Gallery (
599:Stars and Dews and Dreams of Night
25:
1835:20th-century American printmakers
1755:Arthur B. Davies in ArtCyclopedia
1498:1910 United States Federal Census
1471:1870 United States Federal Census
1776:Review of 1981 Davies exhibition
1344:Butler Institute of American Art
1172:Midwest Museum of American Art (
1044:Los Angeles County Museum of Art
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1201:Addison Gallery of American Art
1105:Smithsonian American Art Museum
1825:20th-century American painters
1815:19th-century American painters
1696:The Works of Arthur B. Davies.
1386:Carnegie Museums of Pittsburgh
1221:Harvard University Art Museums
1163:Cedarhurst Center for the Arts
1:
1729:Sherman, Frederic Fairchild.
1556:Stieglitz: A Memoir/Biography
1250:Minneapolis Institute of Arts
797:, pastel and chalk on paper,
684:, after 1910, oil on canvas,
328:, two of the founders of the
1691:(January 1923), p. 196.
1396:Memphis Brooks Museum of Art
1320:North Carolina Museum of Art
795:Woman with Orange Background
1850:People from Utica, New York
523:, oil on wood panel (1895)
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1715:Kennedy, Elizabeth (ed.).
1376:Philadelphia Museum of Art
1354:Richard M. Ross Art Museum
1310:Metropolitan Museum of Art
1027:(In alphabetical order by
879:Metropolitan Museum of Art
612:City Girls and Country Boy
265:Unicorns: Legend, Sea Calm
1735:Chapter: Arthur B. Davies
1694:Czestochowski, Joseph S.
1241:Detroit Institute of Arts
1069:San Francisco, California
747:The Hesitation of Orestes
178:Chicago Academy of Design
106:Chicago Academy of Design
39:
1416:Brigham Young University
1390:Pittsburgh, Pennsylvania
1370:Greensburg, Pennsylvania
1235:Worcester, Massachusetts
1225:Cambridge, Massachusetts
1181:Wichita State University
1019:undated, oil on canvas,
601:, oil on canvas (1927),
588:, oil on canvas (1906),
562:, oil on canvas (1905),
497:, oil on canvas (1890),
326:Abby Aldrich Rockefeller
275:Freshness of the Wounded
191:In 1892, Davies married
182:Art Institute of Chicago
1840:American pastel artists
1361:Oklahoma City, Oklahoma
1334:Cleveland Museum of Art
1314:New York City, New York
1300:Heckscher Museum of Art
1153:Northwestern University
1095:The Phillips Collection
1085:National Gallery of Art
1048:Los Angeles, California
1021:The Phillips Collection
881:, New York (selection)
859:The Phillips Collection
849:The Phillips Collection
839:The Phillips Collection
829:The Phillips Collection
819:The Phillips Collection
809:The Phillips Collection
799:The Phillips Collection
786:The Phillips Collection
773:The Phillips Collection
751:The Phillips Collection
738:The Phillips Collection
725:The Phillips Collection
712:The Phillips Collection
699:The Phillips Collection
686:The Phillips Collection
673:The Phillips Collection
651:The Phillips Collection
638:The Phillips Collection
616:The Phillips Collection
603:Corcoran Gallery of Art
590:The Phillips Collection
577:The Phillips Collection
564:The Phillips Collection
560:Children, Dogs and Pony
551:The Phillips Collection
549:, oil on canvas (1903)
525:The Phillips Collection
512:The Phillips Collection
510:, oil on canvas (1896)
499:The Phillips Collection
486:The Phillips Collection
389:, Marsden Hartley, and
1820:American male painters
1705:New York: Knopf, 1997.
1264:Minneapolis, Minnesota
1254:Minneapolis, Minnesota
1205:Andover, Massachusetts
1179:Ulrich Museum of Art,
1125:Honolulu Museum of Art
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721:The Birth of the Green
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281:
251:
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1805:American illustrators
1722:Perlman, Bennard B.
1712:New York: Dell, 1959.
1284:Montclair, New Jersey
1270:Sheldon Museum of Art
1215:Boston, Massachusetts
1191:Farnsworth Art Museum
1139:University of Chicago
1059:Claremont, California
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586:Springtime of Delight
534:Meeting in the Forest
462:
409:, the German painter
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1860:Ashcan School people
1406:Dallas Museum of Art
1304:Huntington, New York
1280:Montclair Art Museum
1231:Worcester Art Museum
1167:Mt. Vernon, Illinois
660:Girl at the Fountain
538:Montclair Art Museum
495:Along the Erie Canal
432:Day of Good Fortune,
330:Museum of Modern Art
201:prenuptial agreement
1554:Sue Davidson Lowe,
1434:Lynchburg, Virginia
1426:Maier Museum of Art
1211:Museum of Fine Arts
1149:Block Museum of Art
1135:Smart Museum of Art
1023:(Washington, D. C.)
625:Clothed in Dominion
314:Maurice Prendergast
193:Virginia Meriwether
186:Art Students League
170:Hudson River School
168:and members of the
160:Davies was born in
146:Arthur Bowen Davies
110:Art Students League
1810:Symbolist painters
1400:Memphis, Tennessee
1294:Brooklyn, New York
1157:Evanston, Illinois
1115:High Museum of Art
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1015:Arthur B. Davies,
1007:Public collections
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419:Puvis de Chavannes
413:, and the English
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243:Arthur B. Davies,
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228:Arthur B. Davies,
59:September 26, 1862
1740:Wright, Brooks.
1701:Hughes, Robert.
1688:Print Connoisseur
1274:Lincoln, Nebraska
1260:Walker Art Center
1245:Detroit, Michigan
1143:Chicago, Illinois
782:Tissue Parnassian
771:, oil on canvas,
749:, oil on canvas,
736:, oil on canvas,
723:, oil on canvas,
649:, oil on canvas,
636:, oil on canvas,
614:, oil on canvas,
470:Italian Hill Town
407:Sandro Botticelli
316:(1859–1924), and
308:(1871–1951), and
230:Dancing Children,
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48:Gertrude Käsebier
16:(Redirected from
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1737:(at archive.org)
1678:Brown, Milton.
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1430:Randolph College
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1348:Youngstown, Ohio
1174:Elkhart, Indiana
1129:Honolulu, Hawaii
1119:Atlanta, Georgia
1109:Washington, D.C.
1099:Washington, D.C.
1089:Washington, D.C.
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877:drawings in the
863:Washington, D.C.
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843:Washington, D.C.
833:Washington, D.C.
823:Washington, D.C.
813:Washington, D.C.
803:Washington, D.C.
790:Washington, D.C.
777:Washington, D.C.
755:Washington, D.C.
742:Washington, D.C.
729:Washington, D.C.
716:Washington, D.C.
703:Washington, D.C.
690:Washington, D.C.
682:Horses of Attica
677:Washington, D.C.
655:Washington, D.C.
642:Washington, D.C.
620:Washington, D.C.
607:Washington, D.C.
594:Washington, D.C.
581:Washington, D.C.
568:Washington, D.C.
555:Washington, D.C.
529:Washington, D.C.
516:Washington, D.C.
508:Visions of Glory
503:Washington, D.C.
490:Washington, D.C.
464:Arthur B. Davies
435:as practiced by
322:Alfred Stieglitz
302:William Glackens
288:and a member of
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81:October 24, 1928
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34:Arthur B. Davies
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27:American painter
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18:Arthur B. Davies
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1507:Perlman, p. 45.
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1489:Perlman, p. 45.
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1418:Museum of Art (
1359:Museum of Art (
1338:Cleveland, Ohio
1290:Brooklyn Museum
1195:Rockland, Maine
1185:Wichita, Kansas
1055:Scripps College
1017:Elysian Fields,
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869:Pastel drawings
760:The Violin Girl
542:Montclair, N.J.
477:Lillie P. Bliss
474:
467:
457:
430:outlook (e.g.,
415:Pre-Raphaelites
382:
341:Marsden Hartley
279:Brooklyn Museum
249:Brooklyn Museum
234:Brooklyn Museum
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210:common-law wife
162:Utica, New York
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70:Utica, New York
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1749:External links
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1708:Hunter, Sam.
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1665:Orcutt, p. 30.
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1647:Hunter, p. 64.
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1620:Orcutt, p. 27.
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1545:Wright, p. 26.
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1522:
1509:
1500:
1491:
1482:
1480:Perlman, p. 7.
1473:
1464:
1455:
1445:
1444:
1442:
1439:
1438:
1437:
1423:
1413:
1403:
1393:
1383:
1373:
1363:
1357:
1351:
1341:
1331:
1328:North Carolina
1317:
1307:
1297:
1287:
1277:
1267:
1257:
1247:
1238:
1228:
1218:
1208:
1198:
1188:
1177:
1170:
1160:
1146:
1132:
1122:
1112:
1102:
1092:
1082:
1072:
1062:
1051:
1008:
1005:
1004:
1003:
1000:
993:
991:
988:
981:
979:
976:
969:
967:
964:
957:
955:
952:
945:
943:
940:
933:
931:
928:
921:
919:
916:
909:
907:
904:
897:
895:
892:
885:
870:
867:
866:
865:
855:
845:
835:
825:
815:
805:
792:
779:
766:
757:
744:
731:
718:
705:
692:
679:
666:
657:
647:Elysian Fields
644:
631:
622:
609:
596:
583:
570:
557:
544:
531:
521:Viola Obligato
518:
505:
492:
456:
455:Selected works
453:
441:Georges Braque
411:Arnold Böcklin
381:
378:
337:John Flannagan
221:
218:
157:
154:
141:
140:
131:
127:
126:
117:
116:Known for
113:
112:
103:
99:
98:
92:
79:
75:
74:
68:
57:
53:
52:
45:
37:
36:
33:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
1872:
1861:
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1808:
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1803:
1801:
1798:
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1790:
1781:
1777:
1774:
1771:
1768:
1766:
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1707:
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1697:
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1677:
1676:
1672:
1662:
1659:
1653:
1650:
1644:
1641:
1635:
1632:
1629:Brown, p. 61.
1626:
1623:
1617:
1614:
1610:
1605:
1602:
1596:
1593:
1589:
1583:
1580:
1574:
1571:
1564:
1561:
1557:
1551:
1548:
1542:
1539:
1535:
1534:
1533:Henry McBride
1526:
1523:
1519:
1513:
1510:
1504:
1501:
1495:
1492:
1486:
1483:
1477:
1474:
1468:
1465:
1459:
1456:
1450:
1447:
1440:
1435:
1431:
1427:
1424:
1421:
1417:
1414:
1411:
1410:Dallas, Texas
1407:
1404:
1401:
1397:
1394:
1391:
1387:
1384:
1381:
1377:
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1371:
1367:
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1199:
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1126:
1123:
1120:
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1113:
1110:
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1103:
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1096:
1093:
1090:
1086:
1083:
1080:
1076:
1073:
1070:
1066:
1063:
1060:
1056:
1052:
1049:
1045:
1042:
1041:
1040:
1038:
1034:
1030:
1022:
1018:
1013:
1006:
997:
992:
985:
980:
973:
968:
961:
956:
949:
944:
937:
932:
925:
920:
913:
908:
901:
896:
889:
884:
882:
880:
876:
868:
864:
860:
856:
854:
850:
846:
844:
840:
836:
834:
830:
826:
824:
820:
816:
814:
810:
806:
804:
800:
796:
793:
791:
787:
783:
780:
778:
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770:
767:
765:
761:
758:
756:
752:
748:
745:
743:
739:
735:
732:
730:
726:
722:
719:
717:
713:
709:
706:
704:
700:
696:
693:
691:
687:
683:
680:
678:
674:
670:
667:
665:
661:
658:
656:
652:
648:
645:
643:
639:
635:
632:
630:
626:
623:
621:
617:
613:
610:
608:
604:
600:
597:
595:
591:
587:
584:
582:
578:
574:
571:
569:
565:
561:
558:
556:
552:
548:
545:
543:
539:
535:
532:
530:
526:
522:
519:
517:
513:
509:
506:
504:
500:
496:
493:
491:
487:
483:
482:
478:
472:
471:
465:
461:
454:
452:
448:
446:
442:
438:
433:
428:
424:
420:
416:
412:
408:
404:
400:
396:
392:
391:Joseph Stella
388:
387:Alfred Maurer
379:
377:
374:
369:
366:
362:
358:
354:
350:
344:
342:
338:
333:
331:
327:
323:
319:
318:Ernest Lawson
315:
311:
310:Everett Shinn
307:
304:(1870–1938),
303:
300:(1867–1933),
299:
296:(1865–1929),
295:
291:
287:
280:
276:
272:
268:
266:
262:
258:
250:
246:
241:
235:
231:
226:
219:
217:
213:
211:
206:
202:
198:
194:
189:
187:
183:
179:
175:
171:
167:
166:George Inness
163:
155:
153:
151:
147:
139:
138:Ashcan school
135:
132:
128:
125:
121:
118:
114:
111:
107:
104:
100:
95:
80:
76:
71:
58:
54:
49:
43:
38:
31:
19:
1741:
1730:
1723:
1716:
1709:
1702:
1695:
1686:
1679:
1661:
1656:Rich, p. 40.
1652:
1643:
1634:
1625:
1616:
1608:
1604:
1595:
1587:
1582:
1573:
1563:
1555:
1550:
1541:
1530:
1525:
1517:
1512:
1503:
1494:
1485:
1476:
1467:
1458:
1449:
1380:Pennsylvania
1026:
1016:
872:
794:
781:
768:
759:
746:
733:
720:
707:
694:
681:
668:
659:
646:
633:
624:
611:
598:
585:
572:
559:
546:
533:
520:
507:
494:
473:, ca. 1925,
468:
449:
431:
383:
372:
370:
345:
334:
294:Robert Henri
283:
277:, ca. 1917.
274:
264:
253:
245:The Dawning,
244:
229:
214:
205:philandering
190:
159:
145:
144:
1800:1928 deaths
1795:1862 births
1420:Provo, Utah
1037:museum name
873:Collection
784:, by 1923,
734:The Dancers
695:Olive Trees
573:Many Waters
475:Collection
373:The Outlook
353:Walter Pach
298:George Luks
286:Armory Show
150:avant-garde
124:Printmaking
1789:Categories
1441:References
1035:, then by
1031:, then by
769:The Voyage
423:Sam Hunter
306:John Sloan
197:bridegroom
85:1928-10-25
63:1862-09-26
634:Dew Drops
547:The Flood
445:Juan Gris
349:Walt Kuhn
290:The Eight
156:Biography
134:The Eight
102:Education
90:(aged 66)
46:photo by
669:Gondolas
536:(1900),
403:Whistler
399:Brâncuși
365:Futurism
347:artists
174:tonalist
130:Movement
120:Painting
94:Florence
1778:at the
1673:Sources
1324:Raleigh
708:Romance
437:Picasso
427:Matisse
395:CĂ©zanne
361:Fauvism
199:sign a
96:, Italy
83: (
61: (
1590:p. 27.
1520:p. 23.
875:pastel
443:, and
363:, and
357:Cubism
261:Millet
247:1915.
232:1902.
220:Career
50:c.1907
1760:Essay
1029:state
380:Style
257:Corot
1033:city
764:view
664:view
629:view
397:and
351:and
259:and
78:Died
72:, US
56:Born
385:by
1791::
1428:,
1326:,
1243:,
1155:,
1137:,
1057:,
1039:)
861:,
851:,
841:,
831:,
821:,
811:,
801:,
788:,
775:,
762:,
753:,
740:,
727:,
714:,
701:,
688:,
675:,
662:,
653:,
640:,
627:,
618:,
605:,
592:,
579:,
566:,
553:,
540:,
527:,
514:,
501:,
488:,
466::
447:.
439:,
359:,
136:,
122:,
108:,
1436:)
1422:)
1412:)
1408:(
1402:)
1398:(
1392:)
1388:(
1382:)
1378:(
1372:)
1368:(
1350:)
1346:(
1340:)
1336:(
1330:)
1322:(
1316:)
1312:(
1306:)
1302:(
1296:)
1292:(
1286:)
1282:(
1276:)
1272:(
1266:)
1262:(
1256:)
1252:(
1237:)
1233:(
1227:)
1223:(
1217:)
1213:(
1207:)
1203:(
1197:)
1193:(
1187:)
1183:(
1176:)
1169:)
1165:(
1159:)
1151:(
1145:)
1141:(
1131:)
1127:(
1121:)
1117:(
1111:)
1107:(
1101:)
1097:(
1091:)
1087:(
1081:)
1077:(
1071:)
1067:(
1061:)
1050:)
1046:(
87:)
65:)
20:)
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