Yellow Trees, Giverny signed 'Guy Rose' (lower right), titled on two labels on the reverse, and indistinctly inscribed on the reverse oil on canvas 23 1/2 x 28 3/4in
Provenance: Estate of the Artist (estate-stamped on the reverse and signed by Ethel Rose and Earl Stendahl) Stendahl Galleries, The Ambassador Hotel, Los Angeles, California Private Collection, Studio City, California
Literature: Anderson, Antony, and Peyton Boswell. Catalogue of the Guy Rose Memorial. Exhibition catalogue. Los Angeles: Stendahl Galleries, 1926. Listed as number 11, illustrated page 55, with note that reads: A lyric in gold and green, celebrating the beauty of Monet's beloved countryside.
Note: Yellow Trees was painted in Giverny sometime around 1910. This painting pays homage, compositionally, to Rose's artistic mentor in Giverny, Claude Monet. The use of a large foreground in the painting is reminiscent of early works by Monet, such as Oat Field with Poppies, 1890. Other works by Rose painted in Giverny at this time, such as Poppy Field, and The Blue House, incorporate the same use of foreground as a focal point, one that can often take up half of the artist's canvas.
By 1910, Rose made a conscious effort to express romanticism and solitude in his paintings. He does this effectively and quite simply in Yellow Trees. It seems logical that Rose must have known of James McNeill Whistler's paintings by this time, as Whistler's tonalist compositions were universally hailed by the art world. Whistler's muted paintings of the Thames were likely an inspiration, at least in part, to Rose in his execution of Yellow Trees. In this painting, Guy Rose has succeeded in giving the viewer a glimpse of that hazy, peaceful early morning that the artist once witnessed in the French countryside.
This work will be included in the catalogue raisonne on the artist, which is being compiled by Roy Rose and the Irvine Museum.