Still Life of Vase and Fruit (Reflections in Red), Circa 1911-13
Oil on panel, 15 x 20 1/4 inches
Initialed S.M.W. lower left
Goldfield Galleries, Los Angeles
Private collection, New York
Christie's, New York, May 22, 1991, lot 292
Daniel B. Grossman Galleries, Rancho Santa Fe, California
Acquired by the present owner from the above, September 1992
Hollis Taggart Galleries, New York, The Color of Modernism: The American Fauves, April 29-July 26, 1997
North Carolina Museum of Art, Raleigh, North Carolina, and elsewhere, Color, Myth, and Music: Stanton Macdonald-Wright and Synchronism, March 4-July 3, 2001
Museum of Fine Arts, Houston, Texas, December 2, 2001-February 24, 2002
El Paso Museum of Art, El Paso, Texas, Modern American Painting 1907-1936: The Maria and Barry King Collection, September 8, 2013- January 8, 2014, no. 26
Letter written by Dr. Will South dated November 14, 1992, archived in the King Collection files
J. Anderson Kyle, Cézanne and American Painting 1900-1920, Ph.D. dissertation, Austin, Texas, 1995, pg. 417-34, fig. 121, illustrated
W. Gerdts, The Color of Modernism: The American Fauves, exhibition catalogue, Hollis Taggart Galleries, New York, 1997, pl. 38, illustrated
W. South and J. Coffey, Color, Myth, and Music: Stanton Macdonald-Wright and Synchromism, exhibition catalogue, North Carolina Museum of Art, Raleigh, North Carolina, 2001, pg. 172 & 204, no. 4, illustrated
P.S. Cable, Modern American Painting 1907-1936: The Maria and Barry King Collection, exhibition catalogue, El Paso Museum of Art, El Paso, Texas, 2013, pg. 80-82, no. 26, illustrated.
By 1913, when he completed this work at the age of twenty-three, Stanton Macdonald-Wright had thrust himself into the forefront of the international modern art movement through critically acclaimed exhibitions in Paris and Munich with fellow American artist Morgan Russell. Inspired by Matisse’s Fauvist works and the structure of Cezanne’s still lifes, Macdonald-Wright played a critical role in the expression of color as a key element in the articulation of form.
The advancing and receding red and blue planes of Still Life of Vase and Fruit are punctuated by dynamic swirls of color, which thrust the elements forward against a white neutral field, representing the penultimate stage of the artist’s evolution of Synchromism.