Henri Matisse. Letter to Walter Pach. December 6, 1912 [reproduced and published in English transl. in Ref. Cauman 1991, pp. 3, 5], lists this picture among those that he will lend to the Armory Show, and notes that it is for sale [Shchukin had purchased the other version of this composition, now Pushkin State Museum of Fine Arts, Moscow, by August 1912; see Ref. Elderfield 1990].
C. Lewis Hind. "Ideals of Post-Impressionism." Daily Chronicle (October 5, 1912), p. 6 [reprinted in J. B. Bullen, ed., "Post-Impressionists in England," London, 1988, p. 367].
Rupert Brooke. Cambridge Magazine (November 23, 1912), pp. 125–26 [reprinted in J. B. Bullen, ed., "Post-Impressionists in England," London, 1988, p. 405].
Clara T. MacChesn[ey]. "A Talk with Matisse, Leader of Post-Impressionists." New York Times Magazine (March 9, 1913), p. 12, ill. [publication of an interview which took place in the summer of 1912; see Jack Flam, "Matisse on Art," New York, 1973, pp. 49–53], describes seeing two equal sized paintings of nude figures, discussed by Matisse as a sketch and the finished canvas [the MMA and Pushkin versions of "Nasturtiums"].
W. D. MacColl. "The International Exhibition of Modern Art: An Impression." Forum 1 (July 1913), p. 34.
R[oyal]. C[ortissoz]. "The Post-Impressionist and Cubist Vagaries." New York Tribune (February 23, 1913), section II, p. 6.
Nixola Greeley-Smith. "An Alienist Will Charge You $5,000 to Tell You if You're Crazy; Go to the Cubist Show and You'll Be Sure of It for a Quarter." Evening World (February 22, 1913), p. 8 (caricature).
[Oscar Cesare]. "What Cesare Saw at the Armory Art Show." Sun (February 23, 1913), p. 11 (caricature).
Heinz Braune. "Zu einem Gemälde von Henri Matisse." Genius 2 (1920), pp. 197–98, ill. opp. p. 196 (color), as "Intérieur" in the Moll collection.
Roland Schacht. Henri Matisse. Dresden, 1922, ill. p. 67, as "Tanz".
Scofield Thayer. Living Art: Twenty Facsimile Reproductions after Paintings, Drawings and Engravings and Ten Photographs after Sculpture by Contemporary Artists. New York, 1923, colorpl. 3, as "La Danse aux capucines," 1911.
Thomas Craven. "Living Art." Dial 76 (February 1924), pp. 181–82.
Henry McBride. "Modern Art." Dial 76 (February 1924), p. 209.
Thomas Craven. "Henri Matisse." Dial 76 (May 1924), p. 404.
"'Living Art' Folio and Originals Seen." Art News 22 (February 2, 1924), p. 5.
[Elisabeth Luther Cary]. "The World of Art: Modern Art of One Kind and Another." New York Times (January 27, 1924), p. SM10, comments that "a much better Matisse" than this picture could have been included in the "Living Art" portfolio.
Carl Einstein. Die Kunst des 20.Jahrhunderts. Berlin, 1926, pp. 24, 559, ill. p. 182, dates it 1910 and erroneously locates it still in the Moll collection.
A[lfred]. H. B[arr]., Jr. Henri Matisse: Retrospective Exhibition. Exh. cat., Museum of Modern Art, New York. New York, 1931, pp. 15–16, 18, 38, 47, no. 22, ill., dates it 1910 and notes that "the background is a free copy of 'The Dance'".
Meyer Schapiro. "Matisse and Impressionism." Androcles 1 (February 1932), pp. 27–28.
Martha Davidson. "Matisse's Allegory of the Dance." Art News 35 (November 7, 1936), p. 14.
H. D. "Henri Matisse Art on Exhibition Here." New York Times (October 28, 1936), p. 23, calls it the sketch for the finished composition in Moscow.
The Art of the Third Republic: French Painting 1870–1940. Exh. cat., Worcester Art Museum. Worcester, Mass., 1941, unpaginated, no. 23, ill., dates it 1910.
Huldah M. Smith. "Balancing to Date the Books on the French. The Art of the Third Republic: 1870–1940." Art News 40 (February 15–28, 1941), p. 28.
Thomas B. Hess. "Matisse: A Life of Color." Art News 47 (April 1948), ill. p. 19, dates it 1910.
Henri Matisse: Retrospective Exhibition of Paintings, Drawings and Sculpture. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1948, p. 38, no. 22, ill., dates it 1910 and notes that the background depicts "Dance I" (The Museum of Modern Art, New York).
Alfred H. Barr, Jr. Matisse: His Art and His Public. New York, 1951, pp. 127, 144, 149–50, 156–57, 174, 194, 199, 201, 539 n. 5, 540 n. 5, 559, ill. p. 383, calls it "Nasturtiums and the 'Dance,' II" and dates it summer 1912; notes that Shchukin agreed to lend his version of "Nasturtiums" to the Salon d'Automne even though the Salon catalogue lists the owner as "Dr. G..." [see Ref. Elderfield 1990]; adds that the MMA version was lent by Matisse to Exh. London 1912 at the same time as the Salon; states that Matisse confirmed in a questionnaire that the MMA picture was the second version; observes that its "more abstract and refined composition" compared to the Pushkin version corresponds to the style of Matisse's earlier pairs of paintings, in which the first version is more naturalistic, such as "Young Sailor I and II" (private collection; MMA 1999.363.41); states that Thayer purchased it in 1922 from Oskar Moll.
Adrian Hayward. "Worcester's Art Museum." Worcester Telegram (April 3, 1951).
Frank Anderson Trapp. "The Paintings of Henri Matisse: Origins and Early Development (1890–1917)." PhD diss., Harvard University, 1951, pp. 174–75, fig. 127.
Sam Hunter. Henri Matisse, 1869–1954. New York, 1956, unpaginated, fig. 9 (color), as "Nasturtiums and The Dance, II".
Gaston Diehl with notices by Agnès Humbert. Henri Matisse. [Paris], 1958, pp. 53, 101, 106.
Louisa Dresser in The Dial and the Dial Collection. Exh. cat., Worcester Art Museum. Worcester, Mass., 1959, pp. 78–79, no. 61, ill., citing letters in the Dial collection papers, states that Oskar Moll sold this picture to the Dial Collection [Thayer] in May 1923.
Loring Holmes-Dodd. "Dial Magazine Has Long History." Worcester Evening Gazette (May 13, 1959).
Louisa Dresser. Worcester Art Museum News Bulletin and Calendar 24 (April 1959), p. 26, ill. on cover.
Werner Haftmann. Painting in the Twentieth Century. Vol. 2, rev. ed. New York, 1960, p. 55, ill. p. 65.
"Matisse's Work at Art Museum." Worcester Sunday Telegram (January 1, 1961), ill.
1913 Armory Show: 50th Anniversary Exhibition, 1963. Exh. cat., Munson-Williams-Proctor Institute, Utica. New York, 1963, p. 197, ill. p. 92.
Samuel Sachs, II. "Reconstructing the 'whirlwind of 26th Street'." Art News 61 (February 1963), ill. p. 26 (installation photo), reproduces this picture in an installation photo of the 1913 Armory Show in Chicago.
Nicholas Joost. Scofield Thayer and The Dial: An Illustrated History. Carbondale, Ill., 1964, pp. 229, 237–38, ill. n. p.
Richard A. Moore. The Dialectic Norm of Nineteenth and Twentieth Century Art. Atlanta, 1968, pp. 72–73, fig. 6.
Alan Bowness. Matisse and the Nude. New York, 1968, p. 20, colorpl. 14, calls it "Nasturiums and The Dance, II" and dates it 1911.
Massimo Carrà. L'Opera di Matisse dall rivolta 'fauve' all'intimismo, 1904–1928. Milan, 1971, p. 92, no. 148, ill., dates it 1911.
Nicholas Joost. "The Dial Collection: Tastes and Trends of the 'Twenties." Apollo 94 (December 1971), p. 494, fig. 9.
[Louis] Aragon. Henri Matisse: A Novel. [French ed., 1971]. New York, 1972, vol. 1, p. 301, notes that Mme Duthuit [Marguerite Matisse] dates both versions of Nasturtiums to 1911.
John Hallmark Neff. "Matisse and Decoration 1906–1914: Studies of the Ceramics and the Commissions for Paintings and Stained Glass." PhD diss., Harvard University, 1974, pp. 143–44, 180 n. 162, fig. 74.
John Hallmark Neff. "Matisse and Decoration: The Shchukin Panels." Art in America 63 (July–August 1975), pp. 40, 44, 48 nn. 17, 23, figs. 8, 15, notes that Marguerite Duthuit recently dated both versions of this painting to 1911; states that our picture was purchased by Oskar Moll "but probably could not have been shipped to Germany after the beginning of hostilities in mid-August 1914" [the painting was already in Germany in 1913; see Exh. Düsseldorf 1913–14]; reproduces a photograph of this painting in Matisse's studio before the unfinished "Bathers by a River".
Meyer Schapiro. Modern Art, 19th & 20th Centuries: Selected Papers. New York, 1978, p. 169, fig. 5.
T. Borovaya in Henri Matisse: Paintings and Sculptures in Soviet Museums. Leningrad, 1978, p. 168, under no. 42, ill.
Douglas Mannering. The Art of Matisse. [London], 1982, pp. 49–50.
Michael Brenson. "Met Museum Given Major Private Collection." New York Times 1982 (August 25, 1982), pp. A1, C18.
Michael P. Mezzatesta. Henri Matisse Sculptor/Painter: A Formal Analysis of Selected Works. Exh. cat., Kimbell Art Museum. Fort Worth, 1984, pp. 94–96, fig. 62, calls it "Nasturtiums with 'The Dance' II" and dates it 1911.
Lisa M. Messinger in "Notable Acquisitions 1984–1985." Metropolitan Museum of Art Bulletin 42 (1985), pp. 46–47, ill. and on front cover (color).
John Russell. "New York's Next Modern Museum Is on the Way." New York Times (February 17, 1985), p. H33.
Jack Flam. Matisse: The Man and His Art, 1869–1918. Ithaca, 1986, pp. 345–47, 500 nn. 41, 42, p. 501 n. 14, fig. 347 (color), calls it "Nasturtiums with 'Dance' II" but notes that Matisse's description in Ref. MacChesney 1913 "seems to indicate that the Moscow picture was painted second"; comments that the Pushkin version was shown at the Salon d'Automne 1912 while the MMA version was in Exh. London 1912, adding that "the paired paintings, it seems, were not meant to be compared with each other"; mentions the photograph of this picture taken in Matisse's studio in front of "Bathers by a River" [see Ref. Neff 1975] and dates the photograph to early summer 1913, when this picture had returned from the Armory Show.
Margrit Hahnloser-Ingold in Jack Cowart and Dominique Fourcade. Henri Matisse: The Early Years in Nice, 1916–1930. Exh. cat., National Gallery of Art, Washington D.C. Washington, 1986, p. 273 n. 60.
Michael Lloyd in 20th Century Masters from The Metropolitan Museum of Art, New York. Exh. cat., Australian National Gallery. Canberra, 1986, pp. 22–23, ill. (color), calls it the second version of this composition.
Michael Lloyd. "Modern Masters from the Metropolitan." Art and Australia 23 (Autumn 1986), pp. 345, 348, ill. on cover (color) and p. 313.
John Russell. "Impressionist Show at Met from Soviet." New York Times (August 22, 1986), p. C20, remarks that Exh. New York 1986 may be the first time that the two versions of this composition have been seen together.
William S. Lieberman. 20th Century Art: Selections from the Collection of The Metropolitan Museum of Art, New York. Vol. 1, Painting: 1905–1945. New York, 1986, pp. 6, 20–21, ill. (color, overall and detail), front cover (color detail), back cover (color), calls it "Nasturtiums and 'Dance'" and discusses it as the second version.
Kay Larson. "The Met Goes Modern: Bill Lieberman's Brave New Wing." New York Magazine 19 (December 15, 1986), p. 42, calls it "Nasturtiums and 'The Dance'".
Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, p. 102, colorpl. 79, as "Nasturtiums and the 'Dance,' II".
Milton W. Brown. The Story of the Armory Show. 2nd ed. [1st ed., 1963]. New York, 1988, p. 292, notes that this work was lent by the artist to the 1913 Armory Show, and was for sale for $1,080.
John Elderfield in Matisse in Morocco: The Paintings and Drawings, 1912–1913. Exh. cat., National Gallery of Art, Washington D.C. Washington, 1990, pp. 218, 222, 237 n. 76, p. 259, fig. 104, asserts that in Ref. MacChesney 1913, Matisse indicates that the MMA painting preceded the Pushkin version; publishes the August 22, 1912 letter from Shchukin to Matisse agreeing to the loan of the Pushkin "Nasturtiums" to the Salon d'Automne.
M[arina]. Bessonova in From Poussin to Matisse. Exh. cat., The Metropolitan Museum of Art, New York. Chicago, 1990, p. 144, comments that it is "interesting to speculate" that this is the first version.
John Cauman. "Henri Matisse's Letters to Walter Pach." Archives of American Art Journal 31, no. 3 (1991), pp. 3, 5–6, ill.
John Elderfield. Henri Matisse: A Retrospective. Exh. cat., Museum of Modern Art, New York. New York, 1992, pp. 63, 179, 184, colorpl. 149, calls it the first version of this composition and dates it spring–early summer 1912.
Dominique Fourcade and Isabelle Monod-Fontaine. Henri Matisse 1904–1917. Exh. cat., Centre Georges Pompidou. Paris, 1993, pp. 322–23, 488–90, no. 103, ill. (color and bw), cite letters in the Archives Matisse which indicate that this painting was shown at the Salon d'Automne of 1912, lent by Curt Glaser, and was purchased that year from Glaser by his father-in-law, Hugo Kolker, Breslau; state that Matisse asked both Shchukin and Glaser to lend their paintings to the Salon, and that the Glaser painting was delivered to Kolker in November 1912 after the Salon closed; assert that Oskar and Greta Moll bought this painting by 1920 and sold it through Flechtheim to Thayer in 1922; state that although the MMA painting is reproduced in Ref. MacChesney 1913, it was the Shchukin version that was exhibited in Exh. London 1912 and the Armory Show [but see Ref. Sachs 1963; James Huneker, "Decade of the New Art Movement Shows Big Changes," New York Times, November 10, 1912, p. SM12, describes the Pushkin painting in the Salon].
Carol Vogel. "The Art Market." New York Times (February 5, 1993), p. C24.
Marina Bessonova in Morozov and Shchukin—The Russian Collectors. Exh. cat., Museum Folkwang. Essen, 1993, p. 416, ill.
Albert Kostenevich and Natalia Semyonova. Collecting Matisse. Paris, 1993, pp. 134, 145.
Sophie Monneret. Matisse. Paris, 1994, p. 97, no. 187, ill.
Roger Benjamin in Matisse. Ed. Caroline Turner and Roger Benjamin. Exh. cat., Queensland Art Gallery. Brisbane, 1995, pp. 27, 195, no. 64, ill. pp. 6, 198 (color).
John Elderfield in Matisse. Ed. Caroline Turner and Roger Benjamin. Exh. cat., Queensland Art Gallery. Brisbane, 1995, p. 67 n. 54.
Peter Kropmanns in Oskar Moll: Gemälde und Aquarelle. Exh. cat., Landesmuseum Mainz. Cologne, 1997, pp. 82–83, ill., erroneously states that Glaser bought this picture for his father-in-law, Kolker [see Ref. Fourcade and Monod-Fontaine 1993], and the Molls probably acquired it through Glaser after Kolker's death in 1915; adds that they probably purchased it for an extraordinarily good price.
Albert Kostenevich. Matisse: "La révélation m'est venue de l'Orient". Exh. cat., Musei Capitolini, Rome. Florence, 1997, pp. 49, 54.
Albert Kostenevich and Kasper Monrad in Henri Matisse: Four Great Collectors. Ed. Kasper Monrad. Exh. cat., Statens Museum for Kunst. Copenhagen, 1999, pp. 88, 232–33, agree with Elderfield's [Ref. 1992] reordering of the two versions, noting that this picture, with its thinly applied paint, must be a sketch for the Pushkin version; assert that the MMA painting was exhibited at the Salon d'Automne of 1912, from the Glaser collection, and the Pushkin version shown in Exh. London 1912 and the Armory show in 1913, since Shchukin did not receive it until October 1913.
Sandra Persuy. "'Les sources du xxe siècle'. Une vision européenne et pluridisciplinaire de l'art." Les Cahiers du Musée national d'art moderne 67 (Spring 1999), p. 63, lists it among works requested but refused for loan to the exhibition "Les Sources du XXe siècle," Paris, 1960.
John H. Cauman. "Matisse and America, 1905–1933." PhD diss., City University of New York, 2000, vol. 1, pp. 191–92 n. 3, p. 300 n. 26, p. 494; vol. 2, fig. 4.12, agrees with Ref. Fourcade and Monod-Fontaine 1993, asserting that the Pushkin version was shown in Exh. London 1912 and the Armory show; states that Thayer purchased this work from Oskar and Greta Moll through Flechtheim in 1922.
Pierre Schneider. Matisse. Rev. ed. (English ed., 1984). Paris, 2002, pp. 267, 349, 431.
John Golding in Matisse, Picasso. Exh. cat., Tate Modern. London, 2002, pp. 173, 353 nn. 1, 8, 10, fig. 51, as "Nasturtiums with 'Dance' I"; asserts that the MMA picture was exhibited in Exh. London 1912 and the 1913 Armory Show.
Yve-Alain Bois. "A De Luxe Experiment: Le Luxe, II." Matisse: Masterpieces at Statens Museum for Kunst. Copenhagen, 2005, pp. 113, 115, 130 nn. 6, 7, fig. 7 (color).
Marina Bessonova and Evgenia Georievskaya. France, Second Half 19th–20th Century, Painting Collection: State Pushkin Museum of Fine Arts. Moscow, 2005, p. 155, ill. p. 157.
Andreas Strobl. Curt Glaser: Kunsthistoriker—Kunstkritiker—Sammler. Eine deutsch-jüdische Biographie. Cologne, 2006, p. 22, citing letters in the Archives Matisse and Ref. Fourcade and Monod-Fontaine 1993, erroneously states that Glaser bought this painting in the summer of 1912 and sold it the following year.
Sabine Rewald in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 200, 274–75, no. 185, ill. (color and bw), states that Flechtheim sold this picture to Oskar and Greta Moll.
Stephanie D'Alessandro in Stephanie D'Alessandro and John Elderfield. Matisse: Radical Invention 1913–1917. Exh. cat., Art Institute of Chicago. Chicago, 2010, pp. 43, 141, 177 n. 6, notes that Eugène Druet photographed this picture in November 1913 for Flechtheim's exhibition catalogue [Exh. Düsseldorf 1913–14].
John Elderfield in Stephanie D'Alessandro and John Elderfield. Matisse: Radical Invention 1913–1917. Exh. cat., Art Institute of Chicago. Chicago, 2010, p. 116.
The Metropolitan Museum of Art Guide. New York, 2012, p. 401, ill. (color).
Dorthe Aagesen and Rebecca Rabinow in Matisse: In Search of True Painting. Ed. Dorthe Aagesen and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2012, pp. ix, 6–7.
Christel Hollevoet-Force and Mary Chan in Matisse: In Search of True Painting. Ed. Dorthe Aagesen and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2012, pp. 204–5.
Rebecca Rabinow and Isabelle Duvernois in Matisse: In Search of True Painting. Ed. Dorthe Aagesen and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2012, pp. 59–60, 62–66, 186 nn. 3, 5, p. 187 n. 15, no. 19, ill. (color), reproduce an infrared reflectogram of this picture revealing the sketch of a different studio scene; note that an error in the credit lines of the 1912 Salon d'Automne catalogue led to confusion over which version of "Nasturtiums" was exhibited, and confirm that the Pushkin version was shown in Paris, while the MMA version was shown in Exhs. London 1912 and New York-Chicago-Boston 1913.
Rebecca Rabinow in Matisse: In Search of True Painting. Ed. Dorthe Aagesen and Rebecca Rabinow. Exh. cat., The Metropolitan Museum of Art. New York, 2012, p. 146.
Cécile Debray in Matisse. Paires et séries. Exh. cat., Centre Pompidou. Paris, 2012, pp. 11, 14, 16, 18 n. 15.
Rebecca Rabinow in Matisse. Paires et séries. Exh. cat., Centre Pompidou. Paris, 2012, pp. 75–76, 78–80 n. 7, ill. (color).
Yve-Alain Bois in Matisse. Paires et séries. Exh. cat., Centre Pompidou. Paris, 2012, pp. 48, 53 nn. 5, 6.
Elsa Urtizverea in Matisse. Paires et séries. Exh. cat., Centre Pompidou. Paris, 2012, p. 272.
Rémi Labrusse in Matisse. Paires et séries. Exh. cat., Centre Pompidou. Paris, 2012, p. 241.
Isabelle Duvernois in Matisse. Paires et séries. Exh. cat., Centre Pompidou. Paris, 2012, pp. 263–66, figs. 1 (color detail), 2 (color, reflectogram).