Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967
On view at The Met Fifth Avenue in Gallery 768
In Paris, Tarbell was deeply impressed by the fresh attitudes and revolutionary techniques of the Impressionists. Their preference for working out-of-doors, their high-keyed palette, and their loose, rapid brushwork became characteristics of his style. Tarbell also admired the seventeenth-century Dutch painter Vermeer, whose quiet, light-filled rooms with their timeless images of a solitary female occupant inspired many of his pictures. In this painting, a fashionably dressed recumbent young woman, silent and motionless, is seen across a wide, polished floor on which the half-light, filtering through a Venetian blind, creates a pattern of reflections. This would be a Dutch subject rendered in a French technique were it not for the flavor of innocently girlish and dreamy idleness that characterizes the pictures of several American painters at the end of the nineteenth century.
Signature: [at lower right]: Tarbell
William M. Laffan, New York, died 1909; his estate, 1909–1911; sale, American Art Association, New York, 20 Jan. 1911, no. 12; Charles Adams Platt, Boston, 1911–died 1933; his wife, Eleanor Hardy Bunker Platt, Boston, 1933–1949; their son, William Platt, New York, as agent, 1949; with Milch Galleries, New York, 1949; Adelaide Milton de Groot, New York, 1949–died 1967