Art/ Collection/ Art Object

The Manager and a Circus Girl

Artist:
Georges Rouault (French, Paris 1871–1958 Paris)
Date:
1932–41
Medium:
Oil on canvas
Dimensions:
39 3/4 x 32 7/8 in. (101 x 83.5 cm)
Classification:
Paintings
Credit Line:
Jacques and Natasha Gelman Collection, 1998
Accession Number:
1999.363.77
Rights and Reproduction:
© 2017 Artists Rights Society (ARS), New York
Not on view
Inscription: Signed (lower right): GRouault; signed, dated, and inscribed (verso, in the middle of a lengthy text by the artist): Georges Rouault/ Golfe Juan–/ fin Septembre 1941
the artist, Paris (until 1946; on consignment October 1933–June 1935 to Pierre Matisse Gallery, New York, consignment no. 208, as "Manager et fille de cirque"; sold on May 30, 1940, to P. Matisse, stock no. 982a, as "Manager et fille," but not delivered; 1941, with Henri Matisse, Nice-Cimiez, for P. Matisse; by 1946 to P. Matisse); [Pierre Matisse Gallery, New York, 1946–probably 1949; probably in 1949 to Mrs. Pierre [Alexina] Matisse]; Alexina Matisse (later Alexina Duchamp), New York and Villiers-sous-Grez (probably 1949–54; sold on November 3, 1954 through Sidney Janis Gallery, New York to Gelman); Jacques and Natasha Gelman, Mexico City and New York (1954–his d. 1986); Natasha Gelman, Mexico City and New York (1986–d. 1998; her bequest to MMA)

New York. Pierre Matisse Gallery. "Paintings by Rouault," October 30–November 24, 1933, no. 20 (as "Danseuse et son manager") [earlier state].

New York. Pierre Matisse Gallery. "Paintings from Paris," May 1946, no. 12 (as "La Loge").

New York. Pierre Matisse Gallery. "Georges Rouault Paintings," March 11–April 5, 1947, no. 1 (as "La Loge," lent by a private collection).

New York. The Metropolitan Museum of Art. "Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection," December 12, 1989–April 1, 1990, unnumbered cat. (p. 214).

London. Royal Academy of Arts. "Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection," April 19–July 15, 1990, unnumbered cat.

Martigny. Fondation Pierre Gianadda. "De Matisse à Picasso: Collection Jacques et Natasha Gelman," June 18–November 1, 1994, unnumbered cat. (p. 237).

"Exhibitions in New York: Rouault. Pierre Matisse Gallery." Art News 32 (October 28, 1933), p. 5.

Edward Alden Jewell. "Art in Review: Twenty Rouault Canvases That Reveal Disdain for Brush and Devotion to Palette Knife." New York Times (October 30, 1933), p. 20.

Parnassus 5 (November 1933), ill. n. p. (earlier state), reproduces it in an advertisement for Exh. New York 1933, as "Manager et fille de cirque".

Suzanne La Follette. "Twentieth Century Painting." Arts and Decoration 40 (December 1933), ill. p. 21 (earlier state), calls it "Manager et Fille de Cirque".

Edward Alden Jewell. "Diverse French Art." New York Times (May 12, 1946), p. 52, quotes from a letter by Pierre Matisse announcing the opening of Exh. New York 1946 "'after many months of waiting for my shipment of new pictures from Paris'"; calls this painting "La Loge".

Edward Alden Jewell. "Both Old and New: Contemporary Sculpture at the Whitney—Notable Corots—Rouault—Others." New York Times (March 16, 1947), p. X7.

Bernard Dorival and Isabelle Rouault. Rouault, l'œuvre peint. Monte-Carlo, 1988, vol. 2, p. 210, no. 2222, ill., call it "Le manager et fille de cirque (La Loge)" and date it 1941.

Sabine Rewald in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 213–14, 314, ill. (color and bw), notes that the artist's text on the back of the canvas describes that this work was sold unfinished before World War II, but not completed until 1941 after the artist "obtained the necessary pigments and linseed oil".

Jacqueline Munck, ed. Matisse-Rouault Correspondance 1906–1953: "Une vive sympathie d'art". Lausanne, 2013, pp. 33–34, 37–40, 42, p. 46 n. 60, p. 47, figs. 13 (color), 14 (installation photo, Exh. New York 1933, showing the painting in its earlier state), publishes 1941 correspondence between Rouault, Henri Matisse, and Marguerite Duthuit regarding Matisse's holding of this work for his son Pierre [see Provenance].



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