A photograph depicting two pages from a book. On the left page, there is a sketch depicting a man wearing a coat and reading a newspaper. He sits near a river in which sailboats are resting on the bank. On the right page, it states, “Eugene Boudin Sa VIE & SON OEUVRE” Under it is an image of three men staring into the ocean.

A painting depicting a fleet of French naval vessels. They sail through the ocean and leave dark smoke trails in the air. In the foreground, we can see people on much smaller wooden row boats waving a French flag.

A painting of a port with large ships docked on the banks of the river. In the middle of the river there is a small boat with two people on it. In the background there is smoke exiting from the one of the ships in the distance.

A photograph of a dock line with black and white sailboats. There are also dozens of small flags connected to the sailboat’s mass. The background consists of a large town filled with buildings and hills.

A painting depicting three large ships with colorful flags attached to the halyard, docked in the harbor. In the water, there are small boats filled with passengers and also people swimming. In the background, there are rows of buildings.

A colored drawing of a boat with blue, red, and yellow flags attached to the halyard. Behind that ship is a blue sky.

Eugène Boudin, The Port of Deauville, ca. 1884, and Boats Decorated with Flags in the Port of Deauville, 1895

doi: 10.37764/78973.5.606
Artist	Eugène Boudin, French, 1824–1898
Title	The Port of Deauville
Object Date	ca. 1884
Alternate and Variant Titles	Le Port de d’Eauville; Deauville. Le Bassin
Medium	Oil on panel
Dimensions (Unframed)	10 1/8 x 13 3/4 in. (25.7 x 34.9 cm)
Signature	Signed lower right: E. Boudin
Credit Line	The Nelson-Atkins Museum of Art. Purchase: William Rockhill Nelson Trust, 33-14/1

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doi: 10.37764/78973.5.608
Artist	Eugène Boudin, French, 1824–1898
Title	Boats Decorated with Flags in the Port of Deauville
Object Date	1895
Alternate and Variant Titles	Deauville. Bateaux pavoisés dans le bassin; Regatta at Deauville
Medium	Oil on mahogany panel
Dimensions (Unframed)	10 1/2 x 13 3/4 in. (26.7 x 34.9 cm)
Signature	Signed and dated lower left: [D]eauville Aout 95/ E. Boudin
Credit Line	The Nelson-Atkins Museum of Art. Gift of Henry W. and Marion H. Bloch, 2015.13.3

Catalogue Entry

curatorial

Citation

Chicago:

Brigid M. Boyle, “Eugène Boudin, The Port of Deauville, ca. 1884, and Boats Decorated with Flags in the Port of Deauville, 1895,” catalogue entry in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.606.5407.

MLA:

Boyle, Brigid M. “Eugène Boudin, The Port of Deauville, ca. 1884, and Boats Decorated with Flags in the Port of Deauville, 1895,” catalogue entry. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.606.5407.

Fig. 1. Paul César Helleu, frontispiece for Gustave Cahen, *Eugène Boudin, sa vie et son œuvre* (Paris: H. Flory, 1900). Image courtesy of John P. Robarts Library, Toronto, Ontario

Eugène Boudin’s (1824–1898) fabled attachment to the sea has long been part of his mythology as an artist. At Boudin’s funeral services, French bureaucrat Albert Kaempfen delivered a poetic eulogy about the artist’s experience growing up on the coast: “His childhood was cradled by the wave, by the gust of wind . . . and the sky and the sea were his first loves, to which he always remained faithful.”¹Quoted in Gustave Cahen, Eugène Boudin: Sa vie et son œuvre (Paris: H. Flory, 1900), 148. “Son enfance fut bercée sur la vague, au souffle du vent . . . et le ciel et la mer furent ses premières amours, auxquelles il demeura toujours fidèle.” All translations are by Brigid M. Boyle. British art critic Frederick Wedmore echoed this sentiment, insisting that “the sea was in his blood,” while New York Times columnist Edward Alden Jewell declared Boudin and the sea “inseparable.”²See Frederick Wedmore, Whistler and Others (London: Sir Isaac Pitman and Sons, 1906), 51; and Edward Alden Jewell, “Boudin Paintings Are Put On View,” New York Times (November 1, 1933). Perhaps most telling, the frontispiece to Gustave Cahen’s early monograph on Boudin depicts the artist seated on a shore, intently sketching a sailboat run aground (Fig. 1). Dressed in a sailor’s cap and striped cravat, Boudin appears quite at home in this environment and oblivious to anything but the vessel before him. Such images contributed to Boudin’s reputation as “without doubt the greatest of French marine painters,” as famed art dealer Paul Durand-Ruel pronounced him at a posthumous retrospective.³Exposition of Paintings by the Late Louis Eugène Boudin, exh. cat. (New York: Durand-Ruel Galleries, 1898), unpaginated. Of course, Durand-Ruel had a vested interest in building Boudin’s renown.

It is certainly true that Boudin was surrounded by boats from a young age. His father, Léonard-Sébastien Boudin, came from a long line of seamen and oversaw the steamboat service between Le Havre and Honfleur for over two decades. His mother, Marie-Félicité Boudin (née Buffet), served as a chambermaid aboard various ships. Boudin himself worked as a mousse (sailor’s apprentice) beginning at age ten.⁴Georges Jean-Aubry, Eugène Boudin d’après des documents inédits: L’Homme et l’œuvre (Paris: Editions Bernheim-Jeune, 1922), 17–19. However, when Boudin took up painting in 1847, he did not immediately gravitate toward maritime subjects. Instead, he tried his hand at portraiture and still lifes, depicted Breton religious ceremonies known as pardons, and, above all, captured the bourgeois beachgoers at Trouville and Deauville.⁵Boudin later claimed to have abandoned portraiture because the vogue for daguerreotypes reduced the demand for painted portraits. See Paul Leroi, “Salon de 1887 (suite),” L’Art: Revue bimensuelle illustrée, no. 556 (July 15, 1887): 32. Boating scenes remained a marginal portion of Boudin’s production during the 1850s and 1860s. It was only in 1869, as Laurent Manœuvre has noted, when Belgian dealer Léon Gauchez commissioned Boudin to paint several maritime pictures, that the artist turned his attention in earnest to the sea in the hope of building an international clientele.⁶Laurent Manœuvre, “Eugène Boudin, Gustave Courbet et le développement de l’impressionnisme,” in Frédérique Thomas-Maurin, Julie Delmas, and Élise Boudon, eds., Courbet et l’impressionnisme, exh. cat. (Milan: Silvana, 2016), 44–45. According to a letter dated August 30, 1869, from Boudin to his friend Ferdinand Martin, Gauchez intended to market Boudin’s maritime scenes to collectors of Belgian seascapes, a strategy he had already employed for paintings by Johan Barthold Jongkind. As Boudin continued in this genre, his seascapes also attracted French tourists, who were vacationing at the shore in ever-greater numbers.

The Boudin harbor scenes at the Nelson-Atkins both portray Deauville, a fashionable resort town for the beau monde (high society) of Paris. Once a quiet hamlet known primarily for its fish market and thatched roofs, Deauville was redeveloped in the 1860s by Charles-Auguste-Louis-Joseph, duke de Morny, who built a racetrack, casino, and railway station to lure the upper classes.⁷See Anna Bowman Dodd, Up the Seine to the Battlefields (New York: Harper and Brothers, 1920), 34–36; and Suzanne Cassidy, “The Thoroughbred Called Deauville,” New York Times, July 23, 1989. Some scholars argue that the duke’s role in transforming Deauville has been overstated; see Frédérique Citéra, “Deauville,” in Un siècle de bains de mer dans l’estuaire de la Seine, 1830–1930, exh. cat. (Honfleur: Musée Eugene Boudin, 2003), 36–39. Boudin witnessed these changes firsthand, attending the inaugural horse races at the hippodrome and the opening concerts at the casino. A regular visitor to Deauville during July and August, he built himself a Neo-Norman–style summer residence on the rue Olliffe in 1884, when he had at last achieved some material success.⁸Carla Gottlieb, “Boudin’s Drawings,” Master Drawings 6, no. 4 (Winter 1968): 401. Boudin lived in relative poverty for much of his life. It was not until the early 1880s, when Durand-Ruel took notice of his work, that Boudin became financially secure. During Boudin’s final two decades, he painted Deauville’s busy harbor incessantly, determined to preserve “the appearance, riggings, and state of our ports in our age.”⁹Leroi, “Salon de 1887 (suite),” 33. “L’allure, les gréements et l’état de nos ports à notre époque.” Leroi quotes from a letter by Boudin to a mutual friend. After Boudin was diagnosed with stomach cancer in 1895, he moved to Deauville full time to live out his remaining years in his favorite seaside locale. He became so associated with the town that when Deauville celebrated its 150th anniversary in 2010, it designated August 8 “Eugène Boudin Day” in honor of its most famous former resident.¹⁰See “Normandy Impressionist Festival,” Times (London), April 24, 2010; and Seth Sherwood, “On the Cote Fleurie,” New York Times, August 8, 2010.

Fig. 2. Théodore Gudin, *La flotte française se rendant de Cherbourg à Brest (The French Fleet Heading from Cherbourg to Brest), 1858*, 1861, oil on canvas, 110 5/8 x 154 5/16 in. (281 x 392 cm), © Musée national de la Marine, Paris / P. Dantec, N° inv.: 9 OA 36

Port of Deauville, the earlier of the Kansas City boating scenes, was probably painted the same year that Boudin purchased a home in Deauville.¹¹A Durand-Ruel label on the stretcher reads “Boudin No. 448 / Port de Deauville / 1884.” Durand-Ruel purchased Port of Deauville directly from Boudin in 1888. Moored beneath an overcast sky are several empty sailboats and dinghies; the only sign of human activity is the rowboat carrying three figures in the foreground. The banality of this scene represented a radical departure from the Romantic maritime pictures of the previous generation.¹²For more on this subject, see Laurent Manœuvre, “Peinture de marines française, 1820–1905,” in Anne-Marie Bergeret-Gourbin and Dominique Lobstein, Honfleur entre tradition et modernité, 1820–1900, exh. cat. (Honfleur: Musée Eugène Boudin, 2010), 35–52. Artists like Théodore Gudin (1802–1880) had specialized in tumultuous paintings of shipwrecks, naval battles, and stormy waters. Even less action-packed seascapes, like Gudin’s La flotte française se rendant de Cherbourg à Brest, 1858 (The French Fleet Heading from Cherbourg to Brest, 1858), were made theatrical by their lighting, composition, and monumentality (Fig. 2). In Gudin’s work, the sun sits low in the sky, casting strong shadows on the water, and the central ship’s mast forms the apex of a pyramidal arrangement. By contrast, Port of Deauville is deliberately undramatic. Its even illumination (consistent with being painted en plein airen plein air (adjective: plein-air): French for “outdoors.” The term is used to describe the act of painting quickly outside rather than in a studio.), loose structure, and absence of narrative are the antithesis of the Romantic style. Boudin sought to record daily life at the port, not to recreate grand nautical events.

Fig. 3. Eugène Boudin, *Deauville, le bassin*, 1880–1885, oil on panel, 10 5/8 x 15 3/4 in. (27 x 40 cm), private collection, reproduced in *Tableaux et sculptures des XIXe et XXe siècles* (Paris: Picard Audap Solanet et Associés, December 11, 2000), 13

Many of the compositional elements in Port of Deauville reappear in other harbor scenes by Boudin. The canoe and smokestack were among his stock motifs, and he experimented ad infinitum with furled and unfurled sails. Some twentieth- and twenty-first century critics have accused Boudin of monotony or self-plagiarism, but his contemporary Philippe Burty assured the French public that the opposite was true.¹³For example, American journalist John Canaday acknowledged “assurance and finesse” in certain pictures by Boudin but claimed that he “could also be a rather monotonous painter.” John Canaday, “Boudin, Fantin-Latour and Newcomer,” New York Times (November 5, 1966). In his review of Boudin’s solo show at the Galerie Durand-Ruel in 1883, Burty praised the artist for approaching the same subjects with fresh eyes each time, such that his paintings “awaken specific, heightened memories of strolls we would have taken in these parts, on these varied coasts.”¹⁴Quoted in Jean-Aubry, Eugène Boudin, 183. Boudin’s works “éveillent les souvenirs précis, accentués, de promenades que nous aurions faites dans ces contrées, sur ces côtes diverses.” A comparison of the Nelson-Atkins panel to another rendering of Deauville’s harbor by Boudin from the early 1880s makes the artist’s originality manifest (Fig. 3). Both works have a low horizon line punctuated by sailboats, which dwarf the diminutive oarsmen in the foreground and increase in stature from left to right. Both paintings contain a diagonal trail of smoke that serves as a visual link between the ships.¹⁵Interestingly, Boudin painted the trail of smoke in the Nelson-Atkins picture before adding the sky. See technical notes by Mary Schafer, Nelson-Atkins paintings conservator, August 24, 2011, NAMA conservation files, 33-14/1. However, their atmospheric conditions and palettes are quite different. Shades of gray dominate the cloud-filled Kansas City seascape, while patches of blue enliven its counterpart, clearly painted on a sunnier day. One can understand how each work might stir recollections of separate outings in Deauville, as Burty suggested.

While the majority of Boudin’s Deauville harbor scenes document the routine comings and goings of sailboats, a few portray those crafts outfitted for special occasions. Boats Decorated with Flags in the Port of Deauville is one such picture. Painted in August 1895, most likely on the sixth day of a regatta (as discussed below), it features half a dozen vessels whose assorted pennants wave jauntily in the breeze. Yacht races were part of a burgeoning leisure culture for the European well-to-do. Beginning in the 1850s, French plaisanciers (pleasure boaters) participated in sailing contests at popular seaside resorts in imitation of their British peers, who already had a well-established tradition of regattas on the River Thames. Most did not pilot their vessels themselves, instead hiring professional sailors to staff them.¹⁶Jean-Louis Lenhof, “Régates et navigation de plaisance en baie de Seine au XIXe siècle,” in Dominique Barjot, Eric Anceau, and Nicolas Stoskopf, eds., Morny et l’invention de Deauville (Paris: Armand Colin, 2010), 381–406. As Lenhof explains, yachting took two forms in nineteenth-century France: yachting de croisière and yachting de course, or cruising and racing. When used as cruise ships, yachts were essentially “traveling private mansions” that allowed their owners to sightsee while still enjoying the comforts of home. They offered a novel place to entertain guests and conduct business. When used as racing vessels, yachts were equally luxurious but differently equipped: they did not rely on steam propulsion, and their sails could adapt more easily to variable winds. The Cercle de la Voile de Paris, a prominent yacht club founded in the French capital in 1858, collaborated with regional associations to organize annual events that became important fixtures on the summer social calendar.¹⁷For example, in 1892 the Cercle de la Voile de Paris joined forces with a company in Trouville to host a three-day regatta in late July. See Henri Philippe, “Yachting-Gazette: Revue des régates à la voile en 1892,” Le Sport, no. 18 (March 3, 1893): 284–85.

Fig. 4. Agence Meurisse, *Deauville: Le port*, 1935, photographic negative on glass, 5 1/8 x 7 1/16 in. (13 x 18 cm), Bibliothèque nationale de France, Paris, EI-13 (MEU 5081 B-36 9 60/13)

Deauville began welcoming yachts in 1866, when its wet dock—a special enclosure that maintains the level of high tide, allowing boats to remain afloat—was inaugurated. Yacht traffic increased during the Third RepublicThird Republic: The republic established in France in 1870, after the fall of Napoleon III, lasting until the German occupation of France in World War II., particularly after 1891, when a second dock tailored to racing vessels was constructed.¹⁸Lenhof, “Régates et navigation de plaisance,” 385–86. When in town for a regatta, yacht owners would often adorn their ships with signal flags, as seen in a twentieth-century photograph of Deauville’s harbor by the Agence Meurisse (Fig. 4). Normally used to communicate with other vessels during navigation, these flags could also serve more ornamental purposes. In the Agence Meurisse photo, the foremost sailboat is close enough to discern individual flags. The pennant with an X-shaped motif, for example, ordinarily indicates that the sailor requires assistance, while the white flag with a square at center usually warns that the boat will be moving astern. Here, however, they reveal only that a regatta is underway in Normandy.

Boudin’s interest in yachting and seaside galas dates to early in his career, as evidenced by Festival in the Harbor of Honfleur of 1858 (Fig. 5). Painted in the artist’s hometown, this seascape captures the joy of summertime and the excitement of a swimming competition. Men in bathing caps race to shore, watched by some nearby mallards and numerous spectators crammed into rowboats. Overhead, pennants flutter merrily in the wind and cast colorful shadows on the water. Though the subject is similar to that of Boats Decorated with Flags, the handling is much more meticulous. The intricate mesh of ropes required to operate the trois-mâts (three-masted ship) is painstakingly delineated, almost as if Boudin used a straightedge, and the rowboat passengers are distinguished from one another by their clothing and umbrellas. By contrast, the Nelson-Atkins panel is freer and more confident in its execution. Boudin painted most of the flags in three strokes or fewer, and he condensed the oarsmen to a few dots of pigment, imbuing the Kansas City picture with a greater sense of immediacy than its predecessor.

Fig. 5. Eugène Boudin, *Festival in the Harbor of Honfleur*, 1858, oil on panel, 16 1/8 x 23 3/8 in (41 x 59.4 cm), National Gallery of Art, Washington, DC, Collection of Mr. and Mrs. Paul Mellon

Despite their divergent brushwork, however, both paintings derive visual power and a sense of cohesion from the flags scattered across their picture spacepicture space: The whole area of a painting, considered in relation to its parts.. Boudin made careful study of these pennants, as attested by three extant pastel drawings and a related oil painting at the Musée d’Orsay. One is a preparatory sketch for the 1858 painting; two others have close-ups of the Union Jack, the American flag, and several maritime signals; and a third, pictured here, features two masts with crisscrossing strings of pennants (Fig. 6).¹⁹See RF 16785, RF 16794, RF 3350, and RF 16793 at the Musée d’Orsay. Another pastel drawing of a boat with flags was sold at Tableaux modernes et contemporains, Rémy Le Fur et Associés, Paris, December 3, 2012, lot 21 (Bateau pavoisé). These works demonstrate Boudin’s fascination with the flags’ aesthetic and spatial properties. He sought to capture not only their vibrant hues and diverse shapes but also their behavior on blustery days and their relationship to neighboring pennants. We see these concerns play out in the Nelson-Atkins panel: the motley flags overlap, dance in the salty air, and draw the viewer’s eye across the scene.

Like other paintings in Boudin’s vast oeuvre, Boat Decorated with Flags is inscribed with the city, month, and year of its creation: “Deauville Aout 95.” Though this date is already quite precise, new information may allow us to pinpoint the exact day on which Boudin painted the seascape. On August 20, 1895, French journalist Jehan Soudan de Pierrefitte published a detailed account of a weeklong celebration in Deauville. On the fifth evening of the festival, yachts bedecked with Bengal lightsBengal lights: A firework or flare with a steady blue light, used, especially formerly, as a signal. paraded through the harbor, treating revelers to a stunning display that remained illuminated until daybreak. The following morning, August 19, people took strolls along the beachfront, admiring “the cheerful pennants and flags floating before the row of red parasols.”²⁰Jehan Soudan [de Pierrefitte], “À Trouville,” Le Journal, no. 1057 (August 20, 1895): 2. “Les gais pavillons et drapeaux flottants devant les rangs de parasols rouges.” Some lunched al fresco on the casino’s terrace and then caught an opera matinee. That afternoon, large crowds enjoyed a regatta organized by Count Jean Alfred Octave de Chabannes la Palice, a French sailor and nobleman who later represented France at the 1900 Olympics in Paris. Many also amused themselves by watching the duck races, hog contests, and swimming competitions.

While those sporting events were taking place, Soudan de Pierrefitte happened upon “the master E. Boudin, painting this aquatic fair from the quay; the painter Jules Lefebvre, a habitué of Benerville-sur-Mer, [was] also there.”²¹Soudan [de Pierrefitte], “À Trouville,” 2. “Surpris le maître E. Boudin, peignant du quai cette kermesse aquatique; le peintre Jules Lefebvre, un fidèle de Bennerville, est là aussi.” During Boudin’s lifetime, he completed only five paintings of sailing vessels embellished with pennants in Deauville’s harbor. Three date to 1896 or 1897; one is undated; and one—the Nelson-Atkins panel—dates to 1895.²²See Robert Schmit, Eugène Boudin, 1824–1898 (Paris: Galerie Schmit, 1973), nos. 3019, 3547, 3552, 3554, and 3621, pp. 3:165, 353, 356, and 382. The Nelson-Atkins panel, no. 3554, is erroneously dated to 1896 in the catalogue raisonné, even though it bears the aforementioned inscription “Deauville Aout 1895.” We can thus be fairly certain that Boats Decorated with Flags was on Boudin’s easel when Soudan de Pierrefitte bumped into him and Lefebvre on August 19, 1895. Like other festivalgoers, Boudin was taking in the sights, sounds, and smells of summer merriment: the pageantry of the yachts, the boom of salvos from the nearby Le Havre squadron, the aroma of fresh seafood served at the casino, and much more. The regatta and its associated diversions had a transformative effect on the port that Boudin knew so well, and he was determined to capture this annual spectacle for posterity.

Brigid M. Boyle

July 2020

Notes

Quoted in Gustave Cahen, Eugène Boudin: Sa vie et son œuvre (Paris: H. Flory, 1900), 148. “Son enfance fut bercée sur la vague, au souffle du vent . . . et le ciel et la mer furent ses premières amours, auxquelles il demeura toujours fidèle.” All translations are by Brigid M. Boyle.
See Frederick Wedmore, Whistler and Others (London: Sir Isaac Pitman and Sons, 1906), 51; and Edward Alden Jewell, “Boudin Paintings Are Put On View,” New York Times (November 1, 1933).
Exposition of Paintings by the Late Louis Eugène Boudin, exh. cat. (New York: Durand-Ruel Galleries, 1898), unpaginated. Of course, Durand-Ruel had a vested interest in building Boudin’s renown.
Georges Jean-Aubry, Eugène Boudin d’après des documents inédits: L’Homme et l’œuvre (Paris: Editions Bernheim-Jeune, 1922), 17–19.
Boudin later claimed to have abandoned portraiture because the vogue for daguerreotypes reduced the demand for painted portraits. See Paul Leroi, “Salon de 1887 (suite),” L’Art: Revue bimensuelle illustrée, no. 556 (July 15, 1887): 32.
Laurent Manœuvre, “Eugène Boudin, Gustave Courbet et le développement de l’impressionnisme,” in Frédérique Thomas-Maurin, Julie Delmas, and Élise Boudon, eds., Courbet et l’impressionnisme, exh. cat. (Milan: Silvana, 2016), 44–45. According to a letter dated August 30, 1869, from Boudin to his friend Ferdinand Martin, Gauchez intended to market Boudin’s maritime scenes to collectors of Belgian seascapes, a strategy he had already employed for paintings by Johan Barthold Jongkind.
See Anna Bowman Dodd, Up the Seine to the Battlefields (New York: Harper and Brothers, 1920), 34–36; and Suzanne Cassidy, “The Thoroughbred Called Deauville,” New York Times, July 23, 1989. Some scholars argue that the duke’s role in transforming Deauville has been overstated; see Frédérique Citéra, “Deauville,” in Un siècle de bains de mer dans l’estuaire de la Seine, 1830–1930, exh. cat. (Honfleur: Musée Eugene Boudin, 2003), 36–39.
Carla Gottlieb, “Boudin’s Drawings,” Master Drawings 6, no. 4 (Winter 1968): 401. Boudin lived in relative poverty for much of his life. It was not until the early 1880s, when Durand-Ruel took notice of his work, that Boudin became financially secure.
Leroi, “Salon de 1887 (suite),” 33. “L’allure, les gréements et l’état de nos ports à notre époque.” Leroi quotes from a letter by Boudin to a mutual friend.
See “Normandy Impressionist Festival,” Times (London), April 24, 2010; and Seth Sherwood, “On the Cote Fleurie,” New York Times, August 8, 2010.
A Durand-Ruel label on the stretcher reads “Boudin No. 448 / Port de Deauville / 1884.” Durand-Ruel purchased Port of Deauville directly from Boudin in 1888.
For more on this subject, see Laurent Manœuvre, “Peinture de marines française, 1820–1905,” in Anne-Marie Bergeret-Gourbin and Dominique Lobstein, Honfleur entre tradition et modernité, 1820–1900, exh. cat. (Honfleur: Musée Eugène Boudin, 2010), 35–52.
For example, American journalist John Canaday acknowledged “assurance and finesse” in certain pictures by Boudin but claimed that he “could also be a rather monotonous painter.” John Canaday, “Boudin, Fantin-Latour and Newcomer,” New York Times (November 5, 1966).
Quoted in Jean-Aubry, Eugène Boudin, 183. Boudin’s works “éveillent les souvenirs précis, accentués, de promenades que nous aurions faites dans ces contrées, sur ces côtes diverses.”
Interestingly, Boudin painted the trail of smoke in the Nelson-Atkins picture before adding the sky. See technical notes by Mary Schafer, Nelson-Atkins paintings conservator, August 24, 2011, NAMA conservation files, 33-14/1.
Jean-Louis Lenhof, “Régates et navigation de plaisance en baie de Seine au XIXe siècle,” in Dominique Barjot, Eric Anceau, and Nicolas Stoskopf, eds., Morny et l’invention de Deauville (Paris: Armand Colin, 2010), 381–406. As Lenhof explains, yachting took two forms in nineteenth-century France: yachting de croisière and yachting de course, or cruising and racing. When used as cruise ships, yachts were essentially “traveling private mansions” that allowed their owners to sightsee while still enjoying the comforts of home. They offered a novel place to entertain guests and conduct business. When used as racing vessels, yachts were equally luxurious but differently equipped: they did not rely on steam propulsion, and their sails could adapt more easily to variable winds.
For example, in 1892 the Cercle de la Voile de Paris joined forces with a company in Trouville to host a three-day regatta in late July. See Henri Philippe, “Yachting-Gazette: Revue des régates à la voile en 1892,” Le Sport, no. 18 (March 3, 1893): 284–85.
Lenhof, “Régates et navigation de plaisance,” 385–86.
See RF 16785, RF 16794, RF 3350, and RF 16793 at the Musée d’Orsay. Another pastel drawing of a boat with flags was sold at Tableaux modernes et contemporains, Rémy Le Fur et Associés, Paris, December 3, 2012, lot 21 (Bateau pavoisé).
Jehan Soudan [de Pierrefitte], “À Trouville,” Le Journal, no. 1057 (August 20, 1895): 2. “Les gais pavillons et drapeaux flottants devant les rangs de parasols rouges.”
Soudan [de Pierrefitte], “À Trouville,” 2. “Surpris le maître E. Boudin, peignant du quai cette kermesse aquatique; le peintre Jules Lefebvre, un fidèle de Bennerville, est là aussi.”
See Robert Schmit, Eugène Boudin, 1824–1898 (Paris: Galerie Schmit, 1973), nos. 3019, 3547, 3552, 3554, and 3621, pp. 3:165, 353, 356, and 382. The Nelson-Atkins panel, no. 3554, is erroneously dated to 1896 in the catalogue raisonné, even though it bears the aforementioned inscription “Deauville Aout 1895.”

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Boudin, The Port of Deauville, 33-14/1

Technical Entry

Technical entry forthcoming.

Documentation

Citation

Chicago:

Brigid M. Boyle, “Eugène Boudin, The Port of Deauville, ca. 1884,” documentation in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.606.4033.

MLA:

Boyle, Brigid M. “Eugène Boudin, The Port of Deauville, ca. 1884,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.606.4033.

Provenance

Citation

Chicago:

MLA:

Purchased from the artist by Durand-Ruel et Cie, Paris, stock no. 448, as Le Port de d’Eauville, March 30, 1888–February 10, 1933 [1];

Purchased from Durand-Ruel, Inc., New York, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1933 [2].

Notes

[1] The painting was transferred from Durand-Ruel’s Paris branch to their New York branch in October 1888. See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel et Cie, to Nicole Myers, NAMA, January 11, 2016, NAMA curatorial files. Durand-Ruel photo no. A. 4; see photo stock card, Eugène Boudin, Landscapes and marines: Ch–De, Durand-Ruel NY Archives, National Gallery of Art, Washington, DC. See also pink label on verso of panel that says: “Boudin No. 448 / Port [de d’] Eauville/ 1884.”

[2] The painting was shipped by Durand-Ruel to The Nelson-Atkins on February 6, 1933. See letter from Edwin C. Holston, Durand-Ruel et Cie, to William Rockhill Nelson Museum of Art, February 6, 1933, NAMA curatorial files.

Related Works

Citation

Chicago:

MLA:

Boyle, Brigid m. “Eugène Boudin, The Port of Deauville, ca. 1884,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.606.4033.

Eugène Boudin, Port of Deauville, 1884, oil on panel, 18 1/2 x 15 in. (46.8 x 38.1 cm), location unknown, cited in Impressionist and Modern Art Day Sale (London: Sotheby’s, June 20, 2019), 287.

Eugène Boudin, Cargo Ship in the Port of Deauville, 1884, oil on panel, 10 1/4 x 8 1/4 in. (26 x 21 cm), location unknown, cited in Dessins, Sculptures, et Tableaux Modernes (Paris: Audap et Mirabaud, June 4, 2014), 27.

Eugène Boudin, Port of Deauville, 1884, oil on panel, 11 x 8 5/8 in. (28 x 22 cm), location unknown, cited in Tableaux modernes (Versailles: Hôtel Rameau, December 18, 1988), 57.

Eugène Boudin, Port of Deauville, 1884, oil on panel, 12 5/8 x 16 1/8 in. (32 x 41 cm), cited in Impressionist and Modern Paintings (London: Christie, Manson, and Woods, December 5, 1978), 18.

Eugène Boudin, Port of Deauville, 1884, oil on panel, 9 x 12 5/8 in. (23 x 32 cm), Musée des Beaux-Arts de Liège, Belgium.

Eugène Boudin, Port of Deauville, 1884, oil on panel, 9 1/4 x 13 in. (23.5 x 32.9 cm.), location unknown, cited in Impressionist and Modern Art: Works on Paper and Day Sale (London: Christie’s, June 21, 2018), 340.

Eugène Boudin, Port of Deauville, 1884, oil on panel, 10 5/8 x 13 3/4 in. (27 x 35 cm), location unknown, cited in Robert Schmit, Eugène Boudin, 1824–1898 (Paris: Galerie Schmit, 1973), no. 1813, p. 2:198.

Exhibitions

Citation

Chicago:

MLA:

Possibly French Impressionist Landscape Painting, The Nelson-Atkins Museum of Art, Kansas City, MO, November 29–December 30, 1936, hors cat.

Landscapes of the European War Theatre, The Nelson-Atkins Museum of Art, Kansas City, MO, January 1–February 15, 1944, no cat.

References

references

Citation

Chicago:

MLA:

“Nelson Gallery of Art Special Number,” Art Digest 8, no. 5 (December 1, 1933): 21, as Port of Deuville [sic].

“The William Rockhill Nelson Gallery of Art, Kansas City Special Number,” Art News 32, no. 10 (December 9, 1933): 30.

The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1933), 53, 136, (repro.), as Port of Deuville [sic].

A. J. Philpott, “Kansas City Now in Art Center Class,” Boston Sunday Globe 125, no. 14 (January 14, 1934): 16.

M[inna] K. P[owell], “Cezanne and the Patches of Color by Which He Transformed Modern Art,” Kansas City Star 54, no. 120 (January 15, 1934): [16]D, as Port of Deuville [sic].

Possibly “A Thrill to Art Expert: M. Jamot is Generous in his Praise of Nelson Gallery,” Kansas City Times 97, no. 247 (October 15, 1934): 7.

Ellen Josephine Green, “The Fine Arts,” Musical Bulletin 23, no. 2 (November 1934): 7, as The Port of Deauville.

Possibly M[inna] K. P[owell], “In Gallery and Studio: News and Views of the Week in Art,” Kansas City Star 57, no. 71 (November 27, 1936): 34.

Possibly “Exhibition of French Impressionist Landscape Paintings,” News Flashes (The William Rockhill Nelson Gallery of Art and Atkins Museum of Fine Arts) 3, no. 2 (December 1, 1936): 2.

Ruth L. Benjamin, Eugène Boudin (New York: Raymond and Raymond, 1937), 188, as Port of Deauville.

The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 167, as Port of Deauville.

“Temporary Exhibitions: Landscapes of the European War Theatre,” Gallery News (The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts) 10, no. 5 (January 1944): 1.

H. C. H., “Scenes of Old Europe: Nelson Gallery Presents a Continent As It Was,” Kansas City Times 107, no. 6 (January 7, 1944): 4.

Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 260, as Port of Deauville.

Robert Schmit, Eugène Boudin, 1824–1898 (Paris: Robert Schmit, 1973), no. 1809, pp. 2:197, 3:CIX, CXXII, CXLIII, (repro.), as Deauville. Le Bassin.

Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 257, as Port of Deauville.

Possibly Gilbert de Knyff, Eugène Boudin raconté par lui-même: sa vie, son atelier, son œuvre (Paris: Éditions Mayer, 1976), 237.

Richard R. Brettell and Joachim Pissarro, Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 2007), 38, 40, (repro.), as The Port of Deauville.

Laura Spencer, “The Nelson-Atkins’ Bloch Galleries Feature Old Masterworks and New Technology,” KCUR (March 10, 2017): http://kcur.org/post/nelson-atkins-bloch-galleries-feature-old-masterworks-and-new-technology#stream/0, (repro.).

Louise Nicholson, “How Kansas City got its magnificent museum,” Apollo: The International Art Magazine (April 7, 2017): https://www.apollo-magazine.com/how-kansas-city-got-its-magnificent-museum/

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Boudin, Boats Decorated with Flags in the Port of Deauville, 2015.13.3

Technical Entry

Technical entry forthcoming.

Documentation

Citation

Chicago:

Brigid M. Boyle, “Eugène Boudin, Boats Decorated with Flags in the Port of Deauville, 1895,” documentation in French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, ed. Aimee Marcereau DeGalan (Kansas City: The Nelson-Atkins Museum of Art, 2022), https://doi.org/10.37764/78973.5.608.4033.

MLA:

Boyle, Brigid M. “Eugène Boudin, Boats Decorated with Flags in the Port of Deauville, 1895,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.608.4033.

Provenance

Citation

Chicago:

MLA:

With Galerie Allard et Noël, Paris;

With Stephen Hahn, New York, by November 12, 1968 [1];

Eugene B. (1917–2003) and Lucy (née Harvey, 1921–2006) Sydnor, Jr., Richmond, VA, by May 7, 1972–April 1, 1993 [2];

Purchased from Eugene and Lucy Sydnor, Jr. through Martha Parrish, Inc., New York, by Marion (née Helzberg, 1931–2013) and Henry (1922–2019) Bloch, Shawnee Mission, KS, 1993–June 15, 2015 [3];

Their gift to The Nelson-Atkins Museum of Art, Kansas City, MO, 2015.

Notes

[1] November 12, 1968 is the opening date of XIX and XX Century French Paintings: Recent Acquisitions, an exhibition held at Stephen Hahn Gallery, New York, that included Boats Decorated with Flags in the Port of Deauville. According to a Hahn family representative, Stephen Hahn’s business records do not survive. See email from Janey Campbell, Music Academy of the West, to Brigid M. Boyle, NAMA, June 3, 2020, NAMA curatorial files.

[2] May 7, 1972 is the opening date of European and American Art from Princeton Alumni Collections, an exhibition to which the Sydnors lent Boats Decorated with Flags in the Port of Deauville. After Eugene B. and Lucy Sydnor, Jr., divorced in 1986, it is unclear if they retained joint ownership of the painting or if one of them assumed full ownership.

[3] See email from Ann Restak, James Reinish and Associates, Inc., to MacKenzie Mallon, NAMA, May 26, 2015, NAMA curatorial files. A label from Martha Parrish, Inc., can be found on the panel’s verso.

Related Works

Citation

Chicago:

MLA:

Boyle, Brigid m. “Eugène Boudin, Boats Decorated with Flags in the Port of Deauville, 1895,” documentation. French Paintings and Pastels, 1600–1945: The Collections of The Nelson-Atkins Museum of Art, edited by Aimee Marcereau DeGalan, Nelson-Atkins Museum of Art, 2022. doi: 10.37764/78973.5.608.4033.

Eugène Boudin, Le Havre, the Regatta Festival, 1869, oil on panel, 8 1/2 x 15 in. (21.5 x 38 cm), location unknown, cited in Impressionist and Nineteenth Century Art (New York: Christie’s, November 18, 1998), 10–11.

Eugène Boudin, The Regatta at Le Havre, ca. 1858–1862, oil on panel, 5 1/2 x 10 7/8 in. (14 x 27.5 cm), location unknown, cited in Robert Schmit, Eugène Boudin, 1824–1898 (Paris: Galerie Schmit, 1973), no. 189, p. 1:60.

Eugène Boudin, Festival in the Harbor of Honfleur, 1858, oil on panel, 16 1/8 x 23 3/8 in (41 x 59.4 cm), National Gallery of Art, Washington, DC, Collection of Mr. and Mrs. Paul Mellon.

Eugène Boudin, Yacht Basin at Trouville-Deauville, ca. 1895–1896, oil on panel, 18 x 14 5/8 in. (45.7 x 37.2 cm), National Gallery of Art, Washington, DC, Ailsa Mellon Bruce Collection.

Eugène Boudin, Boats Decorated with Flags in the Port of Deauville, 1896, oil on panel, 13 3/4 x 10 5/8 in. (35 x 27 cm), location unknown, cited in Robert Schmit, Eugène Boudin, 1824–1898 (Paris: Galerie Schmit, 1973), no. 3547, p. 3:353.

Eugène Boudin, Deauville, Flag-Decked Ships in the Inner Harbor, 1896, oil on panel, 12 3/4 x 16 3/16 in. (32.4 x 41.1 cm), Philadelphia Museum of Art.

Eugène Boudin, Yachts in the Port of Deauville, 1897, oil on panel, 12 1/2 x 16 in. (32 x 40.6 cm), location unknown, cited in Robert Schmit, Eugène Boudin, 1824–1898 (Paris: Galerie Schmit, 1973), no. 3621, p. 3:382.

Eugène Boudin, Boat Decorated with Flags, undated, pastel and charcoal on paper, 11 1/4 x 7 1/6 in. (28.5 x 18 cm), location unknown, cited in Tableaux modernes et contemporains (Paris: AuctionArt Rémy Le Fur et associés, December 3, 2012), 12.

Eugène Boudin, Three-Master Decorated with Flags, undated, charcoal and pastel on paper, 7 3/8 x 11 5/16 in. (18.8 x 28.7 cm), Musée d’Orsay, Paris.

Eugène Boudin, Study of Flags Raised on a Ship, undated, pencil and pastel on paper, 6 x 7 11/16 in. (15.3 x 19.5 cm), Musée d’Orsay, Paris.

Eugène Boudin, Study of Raised Flags, undated, pastel on paper, 5 11/16 x 8 3/16 in. (14.4 x 20.8 cm), Musée d’Orsay, Paris.

Eugène Boudin, Flags, undated, oil on paper, 6 x 9 7/16 in. (15.3 x 23.9 cm), Musée d’Orsay, Paris.

Top of section

Exhibitions

Citation

Chicago:

MLA:

XIX and XX Century French Paintings: Recent Acquisitions, Stephen Hahn Gallery, New York, November 12–December 14, 1968, unnumbered, as Deauville.

European and American Art from Princeton Alumni Collections, Princeton University Art Museum, Princeton, NJ, May 7–June 11, 1972, no. 53, as Regatta at Deauville.

Manet to Matisse: Impressionist Masters from the Marion and Henry Bloch Collection, The Nelson-Atkins Museum of Art, Kansas City, MO, June 9–September 9, 2007, no. 5, as Boats Decorated with Flags in the Port of Deauville (Bateaux pavoisiers dans le bassin, Deauville).

Magnificent Gifts for the 75th, The Nelson-Atkins Museum of Art, Kansas City, MO, February 13–April 4, 2010, no cat.

References

references

Citation

Chicago:

MLA:

XIX and XX Century French Paintings: Recent Acquisitions, exh. cat. (New York: Stephen Hahn Gallery, 1968), unpaginated, (repro.), as Deauville.

Hedy B. Landman, ed., European and American Art from Princeton Alumni Collections, exh. cat. (Princeton, NJ: Princeton University Art Museum, 1972), 60, 69, (repro.), as Regatta at Deauville.

Robert Schmit, Eugène Boudin, 1824–1898 (Paris: Robert Schmit, 1973), no. 3554, pp. 3:356, CIX, CXIV, (repro.), as Deauville. Bateaux pavoisés dans le bassin.

Rebecca Dimling Cochran and Bobbie Leigh, “100 Top Collectors who have made a difference,” Art and Antiques 28, no. 3 (March 2006): 90.

Bobbie Leigh, “Magnificent Obsession,” Art and Antiques 28, no. 6 (June 2006): 60–61, (repro.).

Alice Thorson, “A Tiny Renoir Began Impressive Obsession,” Kansas City Star 127, no. 269 (June 3, 2007): E4.

“Lasting Impressions: A Tribute to Marion and Henry Bloch,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2007): 11–12.

Steve Paul, “Pretty Pictures: Marion and Henry Bloch’s collection of superb Impressionist masters,” Panache 4, no. 3 (Fall 2007): 20.

Alice Thorson, “Blochs add to Nelson treasures,” Kansas City Star 130, no. 141 (February 5, 2010): A1, A8.

Carol Vogel, “O! Say, You Can Bid on a Johns,” New York Times 159, no. 54,942 (February 5, 2010): C26.

Thomas M. Bloch, Many Happy Returns: The Story of Henry Bloch, America’s Tax Man (Hoboken: John Wiley and Sons, 2011), 174–75.

Diane Stafford, “Bloch gift to go for Nelson upgrade,” Kansas City Star 135, no. 203 (April 8, 2015): A8.

“Nelson-Atkins Museum of Art officially accessions Bloch Impressionist masterpieces,” Artdaily.org (July 25, 2015): http://artdaily.com/news/80246/Nelson-Atkins-Museum-of-Art-officially-accessions-Bloch-Impressionist-masterpieces.

Julie Paulais, “Le Nelson-Atkins Museum of Art reçoit des tableaux impressionnistes en échange de leurs répliques,” Le Journal des arts (July 30, 2015): http://www.lejournaldesarts.fr/patrimoine/le-nelson-atkins-museum-art-recoit-des-tableaux-impressionnistes-en-echange-de-leurs.

Josh Niland, “The Nelson-Atkins Museum of Art Acquires a Renowned Collection of Impressionist and Postimpressionist Art,” architecturaldigest.com (July 31, 2015): http://www.architecturaldigest.com/story/nelson-atkins-museum-accessions-bloch-art-collection

Nancy Staab, “Van Gogh is a Go!” 435: Kansas City’s Magazine (September 2015): 76.

“Nelson-Atkins to unveil renovated Bloch Galleries of European Art in winter 2017,” Artdaily.org (July 20, 2016): http://artdaily.com/news/88852/Nelson-Atkins-to-unveil-renovated-Bloch-Galleries-of-European-Art-in-winter-2017

“Nelson-Atkins Museum of Art celebrates generosity of Henry Bloch with new acquisition,” Artdaily.org (October 18, 2016): http://artdaily.cc/news/90923/Nelson-Atkins-Museum-of-Art-celebrates-generosity-of-Henry-Bloch-with-new-acquisition#.XnKATqhKiUk

Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 59, (repro.), as Boats Decorated with Flags in the Port of Deauville.

Kelly Crow, “Museum Rewards Donor with Fake Art to Hang at Home,” Wall Street Journal (January 25, 2017): http://www.wsj.com/articles/museum-rewards-donor-with-fake-art-to-hang-at-home-1485370768

David Frese, “Bloch savors paintings in redone galleries,” Kansas City Star 137, no. 161 (February 25, 2017): 1A.

Albert Hecht, “Henry Bloch’s Masterpieces Collection to Go On Display at Nelson-Atkins Museum,” Jewish Business News (February 26, 2017): http://jewishbusinessnews.com/2017/02/26/henry-bloch-masterpieces-collection/

David Frese, “Inside the Bloch Galleries: An interactive experience,” Kansas City Star 137, no. 169 (March 5, 2017): 5D, (repro.), as Boats Decorated With Flags in the Port of Deauville.

“Editorial: Thank you, Henry and Marion Bloch,” Kansas City Star (March 7, 2017): http://www.kansascity.com/opinion/editorials/ article137040948.html [repr., “Thank you, Henry and Marion Bloch,” Kansas City Star 137, no. 172 (March 8, 2017): 16A].

Hampton Stevens, “(Not Actually) 12 Things To Do During The Big 12 Tournament,” Flatland: KCPT’s Digital Magazine (March 9, 2017): http://www.flatlandkc.org/arts-culture/sports/not-actually-12-big-12-tournament/

Victoria Stapley-Brown, “Nelson-Atkins Museum’s new European art galleries come with a ‘love story,’” Art Newspaper (March 10, 2017): http://theartnewspaper.com/news/museums/nelson-atkins-museum-s-new-european-art-galleries-come-with-a-love-story/

Harry Bellet, “Don du ciel pour le Musée Nelson-Atkins,” Le Monde (March 13, 2017): http://www.lemonde.fr/arts/article/2017/03/13/don-du-ciel-pour-le-musee-nelson-atkins_5093543_1655012.html

Menachem Wecker, “Jewish Philanthropist Establishes Kansas City as Cultural Mecca,” Forward (March 14, 2017): http://forward.com/culture/365264/jewish-philanthropist-establishes-kansas-city-as-cultural-mecca/ [repr., in Menachem Wecker, “Kansas City Collection Is A Chip Off the Old Bloch,” Forward (March 17, 2017): 20–22].

Juliet Helmke, “The Bloch Collection Takes up Residence in Kansas City’s Nelson Atkins Museum,” Blouin ArtInfo International (March 15, 2017): http://www.blouinartinfo.com/news/story/2005267/the-bloch-collection-takes-up-residence-in-kansas-citys

Louise Nicholson, “How Kansas City got its magnificent museum,” Apollo: The International Art Magazine (April 7, 2017): http://www.apollo-magazine.com/how-kansas-city-got-its-magnificent-museum/

Lilly Wei, “Julián Zugazagoitia: ‘Museums should generate interest and open a door that leads to further learning,’” Studio International (August 21, 2017): http://studiointernational.com/index.php/julian-zugazagoitia-director-nelson-atkins-museum-of-art-kansas-city-interview

Robert D. Hershey Jr., “Henry Bloch, H&R Block’s cofounder, dies at 96,” Boston Globe (April 23, 2019): http://www3.bostonglobe.com/metro/obituaries/2019/04/23/henry-bloch-block-cofounder/?arc404=true.

Robert D. Hershey Jr., “Henry W. Bloch, Tax-Preparation Pioneer (and Pitchman), Is Dead at 96,” New York Times (April 23, 2019): http://www.nytimes.com/2019/04/23/obituaries/henry-w-bloch-dead.html

Megan McDonough, “Henry Bloch, whose H&R Block became world’s largest tax-services provider, dies at 96,” Washington Post (April 23, 2019): http://www.washingtonpost.com/local/obituaries/henry-bloch-whose-handr-block-became-worlds-largest-tax-services-provider-dies-at-96/2019/04/23/19e95a90-65f8-11e9-a1b6-b29b90efa879_story.html

Claire Selvin, “Henry Wollman Bloch, Collector and Prominent Benefactor of Nelson-Atkins Museum of Art, Is Dead at 96,” ArtNews (April 23, 2019): http://washingtonpost.com/local/obituaries/henry-bloch-whose-handr-block-became-worlds-largest-tax-services-provider-dies-at-96/2019/04/23/19e95a90-65f8-11e9-a1b6-b29b90efa879_story.html

Eric Adler and Joyce Smith, “Henry Bloch, co-founder of H&R Block, dies at 96,” Kansas City Star 139, no. 219 (April 24, 2019): 1A.

“Henry Wollman Bloch (1922–2019),” Artforum (April 24, 2019): http://www.artforum.com/news/henry-wollman-bloch-1922-2019-79547

Frank Morris, “Henry Bloch, Co-Founder Of H&R Block, Dies At 96,” NPR (April 24, 2019): http://www.npr.org/2019/04/24/716641448/henry-bloch-co-founder-of-h-r-block-dies-at-96

Ignacio Villarreal, “Nelson-Atkins mourns loss of Henry Bloch,” ArtDaily.org (April 24, 2019): http://artdaily.com/news/113035/Nelson-Atkins-mourns-loss-of-Henry-Bloch#.XMB76qR7laQ

Eric Adler and Joyce Smith, “H&R Block co-founder, philanthropist Bloch dies,” Cass County Democrat Missourian 140, no. 29 (April 26, 2019): 1A.

Eric Adler and Joyce Smith, “KC businessman and philanthropist Henry Bloch dies,” Lee’s Summit Journal 132, no. 79 (April 26, 2019): 1A.

Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 225 (April 30, 2019): 4A [repr., Luke Nozicka, “Family and friends remember Henry Bloch of H&R Block,” Kansas City Star 139, no. 228 (May 3, 2019): 3A].

Eric Adler, “Sold for $3.25 million, Bloch’s home in Mission Hills may be torn down,” Kansas City Star 141, no. 90 (December 16, 2020): 2A.

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