Inscription: Signed (lower left): de Kooning; signed (verso): de Kooning
the artist, Rotterdam (from around 1921); his half–brother, Koos Lassooy, Rotterdam (by 1968–83; sold through Xavier Fourcade Gallery, New York, to MMA)
Stedelijk Museum Amsterdam. "Willem de Kooning," September 19–November 17, 1968, no. 93 (as "Dish with Jugs," 1921, lent by a private collection).
London. Tate Gallery. "Willem de Kooning," December 5, 1968–January 26, 1969, no. 105 (as "Dish with Jugs," ca. 1921, lent by a private collection).
Museum of Modern Art, New York. "Willem de Kooning," March 6–April 27, 1969, no. 105.
Art Institute of Chicago. "Willem de Kooning," May 17–July 6, 1969, no. 105.
Los Angeles County Museum of Art. "Willem de Kooning," July 29–September 14, 1969, no. 105.
New York. Whitney Museum of American Art. "Willem de Kooning: Drawings, Paintings, Sculpture," December 15, 1983–February 26, 1984, no. 2 (as "Dish with Jugs").
Berlin. Akademie der Künste. "Willem de Kooning: Drawings, Paintings, Sculpture," March 11–April 29, 1984, no. 2.
Paris. Musée National d'Art Moderne, Centre Georges Pompidou. "Willem de Kooning," June 26–September 24, 1984, unnumbered cat.
New York. The Metropolitan Museum of Art. "Willem de Kooning: The Early Years," March 14–August 14, 1989, no catalogue.
New York. The Metropolitan Museum of Art. "14 Americans," July 16, 1990–January 2, 1991, no catalogue.
New York. The Metropolitan Museum of Art. "Drawings: Additions to the Collection," May 23–September 29, 1991, no catalogue.
New York. The Metropolitan Museum of Art. "American Still Life: 1915–1950," February 1, 1995–January 28, 1996, no catalogue.
Museum of Modern Art, New York. "De Kooning: A Retrospective," September 18, 2011–January 9, 2012, unnumbered cat. (pl. 2; as "Still Life [Bowl, Pitcher, and Jug]").
Thomas B. Hess. Willem de Kooning. Exh. cat., , London. New York, 1968, pp. 13–14, 165, no. 105, ill., notes that the artist executed this work while a student at the Rotterdam Academy of Fine Arts and Techniques (Academie van Beeldende Kunsten en Technische Wetenschappen te Rotterdam); notes the artist's use of minute dots to define the objects in the composition.
Gabriella Drudi. Willem de Kooning. Milan, 1972, p. 32, fig. 1, calls it "Dish with Jugs" and locates it in a private collection, New York.
Thomas B. Hess. Willem de Kooning: Drawings. Greenwich, Conn., 1972, pp. 18–19, 62, no. 1, ill. p. 63, calls it "Dish with Jugs" and locates it in the collection of K. Lassoy [sic], Rotterdam.
Harold Rosenberg. De Kooning. New York, [1974], p. 7, pl. 3, calls it "Dish with Jugs" and dates it 1921.
Harry F. Gaugh. Willem de Kooning. New York, 1983, p. 11, calls it "Dish with Jugs".
Paul Cummings inWillem de Kooning: Drawings, Paintings, Sculpture. Exh. cat., Whitney Museum of American Art. New York, 1983, p. 11, no. 2, ill. p. 27.
Lowery Stokes Sims. The Figure in 20th Century American Art: Selections from The Metropolitan Museum of Art. Exh. cat., Jacksonville Art Museum. New York, 1984, p. 124, ill.
Lisa M. Messinger in "Twentieth Century Art." The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, p. 93, ill., calls it "Still Life: Bowl, Pitcher, and Jug"; suggests this drawing may be the first extant work of any Abstract Expressionist artist.
Kay Larson. "The Met Goes Modern: Bill Lieberman's Brave New Wing." New York Magazine 19 (December 15, 1986), p. 46, calls it "Still Life: Bowl, Pitcher, and Jug".
Lynne Catherine Cooke. "Willem de Kooning: 'A Slipping Glimpser'." PhD diss., Courtauld Institute, 1988, pp. 36, 377 n. 2.
Diane Waldman. Willem de Kooning. New York, 1988, pp. 9, 17, pl. 1, calls it "Still Life: Bowl, Pitcher and Jug"; states that the artist's "predilection for figure–ground relationships, shallow space, balanced asymmetry, and his awareness of light, line, and shape are already evident in this early student work".
Hilton Kramer. "Though Exhibiting It Badly, Met Offers a Worthy de Kooning Show." New York Observer (August 28, 1989), p. 19, calls it "Still Life: Bowl, Pitcher and Jug".
Judith Zilczer. Willem de Kooning from the Hirshhorn Museum Collection. Exh. cat., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution. Washington D.C., 1993, p. 13.
Michael Reuben Zakian. "Representation and Illusion in the Art of Willem de Kooning." PhD diss., Rutgers, State University of New Jersey, New Brunswick, 1994, pp. 128–29, fig. 4, calls it "Dish with Jugs" in the text and "Still Life: Bowl, Pitcher and Jug" in the list of illustrations.
Michael Kimmelman. "At the Met with Wayne Thiebaud: A Little Weirdness Can Help an Artist." New York Times (August 23, 1996), p. C25.
Judith L. Wolfe. "The Young Willem de Kooning: Early Life, Training and Work, 1904–1926." PhD diss., City University of New York, 1996, vol. 1, pp. 2, 11, 224, 249–52, fig. 76, calls it "Still Life: Bowl, Pitcher, and Jug"; discusses this drawing in the context of the academy curriculum, positing that it was the culminating project for that artist's drawing class during the spring 1921 academic year, and that the depicted objects were chosen and placed by the artist's teacher; compares this drawing to Vermeer's "The Kitchenmaid" (1657–58, Rijksmuseum, Amsterdam); quotes the artist describing this drawing as being "like a photograph, except more romantic".
Michael Kimmelman. Portraits: Talking with Artists at the Met, the Modern, the Louvre and Elsewhere. New York, 1998, pp. 166–67, ill.
Catherine Morris. The Essential Willem de Kooning. New York, 1999, pp. 12–14, ill. (color), calls it "Still Life: Bowl, Pitcher and Jug".
Jonathan Fineberg. Art Since 1940: Strategies of Being. 2nd (1st ed., 1995). New York, 2000, p. 76, fig. 3.40, calls it "Still Life: Bowl, Pitcher and Jug".
Barbara Hess. Willem de Kooning, 1904–1997: Content as a Glimpse. Cologne, 2004, ill. p. 12, calls it "Still Life (Bowl, Pitcher and Jug)".
Mark Stevens and Annalyn Swan. De Kooning: An American Master. New York, 2004, pp. 35–36, ill. between pp. 302–3 (color), call it "Dish with Jugs," 1921 in the text and "Still Life: Bowl, Pitcher, and Jug," about 1921 in the caption; remark that this work does not "predict the artist's future course".
John Elderfield. De Kooning: A Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, p. 49.
Lauren Mahony in John Elderfield. De Kooning: A Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, pp. 59–61, fig. 2 (detail, color) and colorpl. 2, proposes that this drawing was his last work done in his fourth and final year at the Academie in Rotterdam.
Delphine Huisinga in John Elderfield. De Kooning: A Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, p. 444.
Judith Zilczer. A Way of Living: The Art of Willem de Kooning. London, 2014, p. 15, fig. 5 (color).
Willem de Kooning (American (born The Netherlands), Rotterdam 1904–1997 East Hampton, New York)
1948
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