The ample forms of the nude woman suggest abundance and fertility. The painting belongs to a series of draped female figures entitled Canephorae (Offering Bearers), in which monumental figures display luscious fruits in the classical tradition of Greek statues.
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[Paul Rosenberg, Paris; sold to Reber]; Gottlieb Friedrich Reber, Lugano; [Paul Rosenberg, Paris, until 1923, stock no. 803; sold on July 12, 1923, for Fr 15,000, to Thayer]; Scofield Thayer, Vienna and New York (1923–d. 1982; on extended loan to the Worcester Art Museum, Worcester, Mass., as part of the Dial Collection, 1931–82; his bequest to MMA)
New York. Montross Gallery. "Original Paintings, Drawings, and Engravings Being Exhibited with the Dial Folio 'Living Art'," January 26–February 14, 1924, no catalogue (typed checklist no. 1 ; as "Standing Figure").
Columbus Gallery of Fine Arts. "Modern French Masters," November 28–December 31, 1952, no. 5 (as "Standing Figure," lent anonymously through the Worcester Art Museum).
Akron Art Institute. "Modern French Masters," January 13–February 16, 1953, no. 5.
Worcester Art Museum. "Modern French Masters," March 5–April 12, 1953, no. 5.
Worcester Art Museum. "The Dial and the Dial Collection," April 30–September 8, 1959, no. 7 (as "Standing Figure").
Worcester Art Museum. "Selections from the Dial Collection," November 13–30, 1965, unnum. checklist (as "Standing Figure").
Worcester Art Museum. "The Dial Revisited," June 29–August 22, 1971, no catalogue.
Art Institute of Chicago. "Braque: The Great Years," October 7–December 3, 1972, no. 4 (as "Woman with a Basket of Fruit," lent by the Dial Collection, through the Worcester Art Museum, Worcester, Massachusetts).
Worcester Art Museum. "'The Dial': Arts and Letters in the 1920s," March 7–May 10, 1981, no. 10 (as "Standing Figure," ca. 1924).
Roslyn Harbor, N. Y. Nassau County Museum of Art. "An Ode to Gardens and Flowers," May 10–August 9, 1992, unnumbered cat. (p. 67; as "Woman with Basket of Fruit").
New York. The Metropolitan Museum of Art. "Nudes: A Selection from the Bequest of Scofield Thayer," February 12–October 31, 1993, no catalogue.
Marugame Genichiro Inokuma Museum of Contemporary Art. "Georges Braque Retrospective," June 6–July 19, 1998, no. 30 (as "Femme portant des fruits").
Kagoshima City Museum of Art. "Georges Braque Retrospective," July 24–August 30, 1998, no. 30.
Tokyo. Bunkamura Museum of Art. "Georges Braque Retrospective," September 12–October 25, 1998, no. 30.
Mie Prefectural Art Museum. "Georges Braque Retrospective," November 3–December 13, 1998, no. 30.
New York. The Metropolitan Museum of Art. "Painters in Paris: 1895–1950," March 8–December 31, 2000, extended to January 14, 2001, not in catalogue.
Kyoto Municipal Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," September 14–November 24, 2002, no. 40.
Tokyo. Bunkamura Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," December 7, 2002–March 9, 2003, no. 40.
Carl Einstein. Die Kunst des 20.Jahrhunderts. Berlin, 1926, pp. 75–76, 562, ill. p. 313, dates it 1924 and erroneously locates it as still in the Reber collection.
George Isarlov. Georges Braque. Paris, 1932, p. 24, no. 353, as "Femme portant des fruits," 1924.
Louisa Dresser inThe Dial and the Dial Collection. Exh. cat., Worcester Art Museum. Worcester, Mass., 1959, p. 60, no. 7, ill., notes that a half-tone cut was made of this painting although it was not published in "The Dial" or "Living Art".
Nicholas Joost. Scofield Thayer and The Dial: An Illustrated History. Carbondale, Ill., 1964, p. 235, ill. between pp. 268 and 269, as "Standing Figure"; notes that this picture was withdrawn from the Worcester Art Museum venue of the Dial collection exhibition in 1924 because of the fear, in Thayer's words, that "a conservative public might be prejudiced".
Nicole S. Mangin. Catalogue de l'œuvre de Georges Braque. Vol. , Peintures 1924–1927. [Paris], 1968, p. 1, ill., calls it "Femme portant des fruits" and dates it 1923–24.
Nicholas Joost. "The Dial Collection: Tastes and Trends of the 'Twenties." Apollo 94 (December 1971), p. 489, fig. 4, as "Standing Figure".
Massimo Carrà. L'Opera completa di Braque dalla scomposizione cubista al recupero dell'oggetto 1908–1929. Milan, 1971, pp. 95–96, no. 203, ill., dates it 1923–24.
Douglas Cooper. Braque: The Great Years. Exh. cat., Art Institute of Chicago. Chicago, 1972, pp. 21, 54, no. 4, fig. 31, compares the woman in this picture with the first of Braque's classically inspired monumental figure paintings, the two "Canéphores" (1922; both Musée National d'Art Moderne, Paris), calling ours "more human... but also more mannered"; reproduces a pencil drawing for the MMA painting.
Peter P. Donker. "Thayer's Nudes Were Controversial." Worcester Sunday Telegram (March 8, 1981), p. 28A, ill.
Nadine Pouillon with Isabelle Monod-Fontaine. Braque:Œuvres de Georges Braque (1882–1963). Exh. cat., Musée National d'Art Moderne, Centre Georges Pompidou. Paris, 1982, p. 77, under nos. 19–20, fig. 4, call it "Femme portant une corbeille de fruits" and date it 1922–24; note that the series of classical nudes began with the "Canéphores" (MNAM) and culminated with "Nude Woman with Basket of Fruit" (1926; National Gallery of Art, Washington, D.C.).
Michael Brenson. "Met Museum Given Major Private Collection." New York Times (August 25, 1982), pp. A1, C18.
John Richardson. "Rediscovering an Early Modern Vision: The Dial Collection Recalls the Life and Times of Scofield Thayer." House and Garden 159, no. 2 (February 1987), p. 215.
Sylvia Hochfield. "Thoroughly Modern Met." Art News 86 (February 1987), p. 116, calls it "Standing Figure" and dates it 1924.
Dorothy Kosinski. "G. F. Reber: Collector of Cubism." Burlington Magazine 133, no. 1061 (August 1991), p. 522.
Jean Leymarie inRétrospective Georges Braque. Exh. cat., Marugame Genichiro Inokuma Museum of Contemporary Art. Tokyo, 1998, pp. 25–26, 86–87, no. 30, ill. (color).
Peter Kropmanns and Uwe Fleckner. "Von Kontinentaler Bedeuteung: Gottlieb Friedrich Reber und Seine Sammlungen." Die Moderne und Ihre Sammler: Französische Kunst in Deutschem Privatbesitz vom Kaiserreich zur Weimarer Republik. Ed. Andrea Pophanken and Felix Billeter. Berlin, 2001, p. 394, no. 14, erroneously as still in the Dial collection.
Kristina Wilson. "Fearing a 'Conservative Public': The Dial Collection in Worcester." American Art 27 (Fall 2013), pp. 27, 30–32, fig. 1 (color).
Sabine Rewald inObsession: Nudes by Klimt, Schiele and Picasso from the Scofield Thayer Collection. Exh. cat., The Metropolitan Museum of Art [The Met Breuer]. New York, 2018, pp. 35, 118, fig. 53 (color).
The seven other paintings in this series are in the Musée National d'Art Moderne, Centre Georges Pompidou, Paris (Mangin 1973, pp. 108, 109); the National Gallery of Art, Washington (Mangin 1968, pp. 37, 70); the Santa Barbara Museum of Art (Mangin 1968, p. 2); former collection Mr. and Mrs. Arnold Maremont, Winnetka, Il. (Mangin 1968, p. 36); and the Statens Museum for Kunst, Copenhagen (Mangin 1968, p. 39).
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