Focusing his camera not on a still life per se, but on its evanescent trace, de Meyer creates a composition that approaches abstraction. He later applied a similar handling of light and shadow to enhance the drama of his fashion photographs. Here, the shadow of a vase of flowers cast onto the wall has the effect of a Japanese lacquered screen.
Inscription: Signed in pencil on mount, recto, BL: "DEMEYER [underlined]"; inscribed in pencil in artist's hand(?), verso, BL: "The Shadows on the Wall.//"Chrysanthemums"
The Metropolitan Museum of Art. "The Collection of Alfred Stieglitz," May 18, 1978–July 16, 1978.
International Center of Photography. "Baron Adolf de Meyer," December 10, 1994–February 12, 1995.
Les Galeries nationales du Grand Palais. "1900," March 14, 2000–June 26, 2000.
The Metropolitan Museum of Art. "Photographic Treasures from the Collection of Alfred Stieglitz," October 13, 2011–February 26, 2012.
The Metropolitan Museum of Art. "Quicksilver Brilliance: Adolf de Meyer Photographs," December 4, 2017–March 18, 2018.
Naef, Weston J. The Collection of Alfred Stieglitz: Fifty Pioneers of Modern Photography. Studio Book. 1st ed. New York: The Metropolitan Museum of Art, 1978. no. 215.
Ehrenkranz, Anne. A Singular Elegance: The Photographs of Baron Adolph de Meyer. New York: International Center of Photography, 1994. p. 53.