Two Tahitian Women in a Landscape

London, Grafton Galleries, Manet and the Post-Impressionists, Nov. 8, 1910–Jan. 15, 1911, cat. 185 as Water Colour. New York, 69th Regiment Armory, International Exhibition of Modern Art, Feb. 17–Mar. 15, 1913, cat. 179, as Femme et Enfant. Art Institute of Chicago, International Exhibition of Modern Art, Mar. 24–Apr. 16, 1913, cat. 142, as Woman and child. Copley Society of Boston, International Exhibition of Modern Art, Apr. 28–May 19, 1913, cat. 59, as Woman and Child. Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, June 1–Nov. 1, 1933, cat. 876. Boston, Institute of Modern Art, 100 Modern Pictures in Water Color, Gouache and Tempera, May 23–July 14, 1945, cat. 20. New York, Wildenstein & Co., A Loan Exhibition of Paul Gauguin, for the Benefit of the New York Infirmary, Apr. 3–May 4, 1946, cat. 46. San Francisco, California Palace of the Legion of Honor, 19th Century French Drawings, Mar. 8–Apr. 6, 1947, cat. 139. Minneapolis Institute of Arts, Gauguin in Tahiti, Apr. 1–May 14, 1950, no cat.

Grafton Galleries, Manet and the Post-Impressionists, exh. cat. (Ballantyne, 1910), p. 34, cat. 185. Association of American Painters and Sculptors, Catalogue of International Exhibition of Modern Art, exh. cat. (n.p., 1913), p. 26, cat. 179. Association of American Painters and Sculptors, Catalogue of International Exhibition of Modern Art, exh. cat. (n.p., 1913), n.pag., cat. 142. Association of American Painters and Sculptors, Catalogue of International Exhibition of Modern Art, exh. cat. (Copley Society of Boston, 1913), n.pag., cat. 59. “Accessions and Loans,” Bulletin of the Art Institute of Chicago 17, no. 1 (Jan. 1923), p. 11. Rose Mary Fischkin, “Notes on Some Modern Drawings,” Bulletin of the Art Institute of Chicago, 21, no. 3 (Mar. 1927), p. 36. Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, 3rd ed., exh. cat. (Art Institute of Chicago, 1933), p. 91, cat. 876. Institute of Modern Art, 100 Modern Pictures in Water Color, Gouache and Tempera, exh. cat. ([Institute of Modern Art, Boston], 1945), n.pag., cat. 20. Wildenstein & Co., A Loan Exhibition of Paul Gauguin, for the Benefit of the New York Infirmary, with an essay by Raymond Cogniat (Wildenstein & Co., 1946), p. 68, cat. 46. John Rewald, 19th Century French Drawings, exh. cat. (California Palace of the Legion of Honor, 1947), p. 85, cat. 139. Beatrice Wilczynski, “European Paintings Exhibited in the 1913 Armory Show,” unpublished MS, 1955), p. 19, no. 142, pl. 2, no. 15, Ryerson Library. Munson-Williams-Proctor Institute, 1913 Armory Show: 50th Anniversary Exhibition, exh. cat. (Munson-Williams-Proctor Institute, 1963), p. 190, no. 179. Harold Joachim and Sandra Haller Olsen, French Drawings and Sketchbooks of the Nineteenth Century, vol. 2 (University of Chicago Press, 1979), p. 60, cat. 3E11 (ill.). Milton W. Brown, The Story of the Armory Show (Abbeville, 1988), pp. 268–69, no. 179. Andrew Martinez, “A Mixed Reception for Modernism: The 1914 Armory Show at The Art Institute of Chicago,” Art Institute of Chicago Museum Studies 19, no. 1 (1993), p. 40. Colta Ives and Susan Alyson Stein, The Lure of the Exotic: Gauguin in New York Collections, with Charlotte Hale and Marjorie Shelley, exh. cat. (Metropolitan Museum of Art, New York/Yale University Press, 2002), p. 154, fig. 59. Peter Kort Zegers, “In the Kitchen with Paul Gauguin: Devising Recipes for a Symbolist Graphic Aesthetic,” in The Broad Spectrum: Studies in the Materials, Techniques, and Conservation of Color on Paper, ed. Harriet K. Stratis and Britt Salvesen (Archetype, 2002), pp. 141–43, fig. 3.7. Anna Gruetzner Robins, “Manet and the Post-Impressionists’: A Checklist of Exhibits,” Burlington Magazine 152, no. 1293 (Dec. 2010), pp. 787–88. Javier González de Durana, Miriam Alzuri, and María Amezaga, Francisco Durrio (1868–1940): Sobre las huellas de Gauguin, exh. cat. (Museo de Bellas Artes de Bilbao, 2013), p. 208, no. 4 (ill.).