Guy Rose (American, 1867-1925) In the olive orchard (Provençal olive orchard) 15 x 18in
Lot 49
Guy Rose (American, 1867-1925) In the olive orchard (Provençal olive orchard) 15 x 18in
Sold for US$ 200,000 inc. premium
Lot Details
Guy Rose (American, 1867-1925)
In the olive orchard (Provençal olive orchard)
signed 'Guy Rose' (lower right)
oil on canvas
15 x 18in
overall: 23 x 26in


    Oakland, California, The Oakland Museum, A Time and a Place: From the Ries Collection of California Painting, December 1, 1990 - March 3, 1991.

    Oakland, California, The Oakland Museum, Guy Rose, American Impressionist, July 1, 1995 - September 24, 1996.

    Greenville, South Carolina, Greenville County Museum of Art, Guy Rose, American Impressionist, December 4, 1996 - January 9, 1997.

    Montclair, New Jersey, The Montclair Art Museum, Guy Rose, American Impressionist, April 27, 1997 - August 10, 1997.

    Jean Stern, Joan Irvine Smith, Reflections of California, The Athalie Richardson Irvine Clarke Memorial Exhibition, Irvine, 1994, p. 26, illus.
    Will South, Guy Rose, American Impressionist, San Francisco, 1995, p. 90, illus.
    William Gerdts, All Things Bright & Beautiful, California Impressionist Paintings from the Irvine Museum, Irvine, 1998, plate 4, p. 18, illus.

    In the book All Things Bright & Beautiful, Dr. William Gerdts best describes this painting and its context in the artist's career at this time:

    'Beginning in 1895, Rose taught for four years at Pratt Institute, Brooklyn, before returning to Paris and Giverny in 1899, and then purchasing a house in the latter in 1904. Having had to abandon his art almost completely owing to lead poisoning around 1897, Rose resumed painting in 1908, and became one of the most successful of [Frederick] Frieseke's many associates, like him painting colorful figural pictures of lovely young women outdoors, as well as several nudes in interiors. Much more than Frieseke, however, Rose concentrated on pure landscapes, utilizing the high-key colorism and painterly brushwork of Impressionism, undoubtedly influenced by Claude Monet himself; Rose and his wife, Ethel, were among the very few American painters of his generation in Giverny who actually came to know Monet personally.

    Presumably the majority of Rose's French pictures were painted in and around Giverny, but Rose traveled quite extensively in France, both to the northern coast at Honfleur, and in the south to Toulon, Antibes, and Cannes. It must have been during such a trip that he painted In the Olive Orchard (Provençal Olive Orchard), in southern France, a sparkling, light-filled landscape utilizing all the strategies of orthodox Impressionism. Rose here, and in several pictures of groves and tamarisk trees in the region that were probably painted in the same period, revels in the undulating forms, each tree almost rhythmically dancing, while casting transparent shadows over the glistening colored ground. A work called Olive Trees, presumably this painting, was exhibited at the Macbeth Gallery in New York in April of 1917.'

    There is a title on an old label affixed to the reverse believed to have been written by Mrs. Guy Rose.

    This painting will be included in the forthcoming catalogue raisonné on the artist being compiled by Roy Rose and the Irvine Museum.
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