Provenance

Mrs. John Hay Whitney

Whitney, Betsey
Whitney, Betsey Cushing Estate of
Whitney, John Hay The Estate of Mrs.
Greentree Foundation

died 1998

Explore Selected Works

Raoul Dufy, The Beach at Sainte-Adresse, 1906, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1998.74.3

The Beach at Sainte-Adresse

Raoul Dufy · 1906 · oil on canvas ·  Accession ID  1998.74.3

Posters fill a billboard-like wall that stretches across most of the horizontal composition in this loosely painted scene. Two red-and-white striped tents with rounded tops are in the lower left quadrant of the composition. One person, perhaps a woman wearing a hat and a white dress, stands in blue shadow near one of the tents, and four others stroll across the golden-tan walkway to the right. One pedestrian wears a white dress and carries a white parasol. A man and woman wear russet brown, and the person next to the woman in white wears black. The posters are painted in tones of canary yellow, lapis blue, and red with a few touches of cool green and white. The posters, tents, and the people’s bodies are outlined in cobalt blue. Two rooflines to the left and some vertical strokes in turquoise green, light pink, and pale yellow suggest buildings stretching into the distance. A banner flies from the top of the wall in the upper right corner of the painting against a vivid blue sky in the top third of the composition. Brushstrokes are visible throughout, and glimpses of raw canvas are light brown at the edges. The artist signed the painting in the lower right corner in blue, “Marquet.”
Albert Marquet, Posters at Trouville, 1906, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1998.74.1

Posters at Trouville

Albert Marquet · 1906 · oil on canvas ·  Accession ID  1998.74.1

We look across a wide river with buildings lining the opposite bank as two tugboats painted with stripes and strokes of cherry red, white, and cobalt blue steam along from right to left in this stylized, horizontal landscape painting. The paint is loosely and thickly applied throughout. The water is painted with layers of short, horizontal strokes and daubs of ice and royal blue, shell pink, bottle green, and the red, white, and blue of the boats to suggest reflections. One tugboat is just left of center and passes the small village on the opposite bank. Smoke rising from that boat’s stack create eddies of cobalt blue, marigold orange, and petal pink. The bow of a second tug enters from the middle right. The riverbank directly in front of us, in the lower left corner of the composition, is painted with dashes of mustard yellow layered with horizontal strokes of burnt orange. The village on the far side fills the top third of the painting and parallels the river. Its buildings are butter yellow with blue or pumpkin-orange roofs. A few tall, narrow, emerald and avocado-green strokes suggest cypress trees growing amid the village. Horizontal strokes near the river’s edge could be another line of buildings. The building’s reflections are suggested by short, parallel strokes of golden yellow, orange, and green extending into the river. The trees, buildings, and boats are outlined in black. The sky above the village is mint green layered with thick strokes of white, and swirls of azure blue and light pink. The artist signed the painting with black letters in the lower left corner, “Vlaminck.”
Maurice de Vlaminck, Tugboat on the Seine, Chatou, 1906, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1998.74.4

Tugboat on the Seine, Chatou

Maurice de Vlaminck · 1906 · oil on canvas ·  Accession ID  1998.74.4

Shown from the waist up, a woman with a crimson-red face, dark brown eyes, and a black and white garment faces and looks out at us in this stylized, vertical portrait painting. Her face is painted as a flat field of vibrant red outlined with teal green. Her features are outlined in black, and her closed lips are light gray. Her hair is pulled back under a black head covering that falls over her shoulders. The headdress seems to be layered with a headband with bright yellow polka dots against spring green. Her dress is painted with thick, charcoal-gray lines and circles against a white background. The brushstrokes are visible throughout, especially on the garment. In the background behind her, a field of ivory white is contained within bands of steel gray above, along the top edge of the canvas, and below, behind her shoulders. Beyond her body, in the lower left corner, is a patch of sky blue.
Kees van Dongen, Saida, 1913 or 1920, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1998.74.2

Saida

Kees van Dongen · 1913 or 1920 · oil on canvas ·  Accession ID  1998.74.2

Shown from the chest up, a man with short, orange hair and green-tinted, pale skin looks at us, wearing a vivid blue painter's smock in this vertical portrait painting. His smock and the background are painted with long, mostly parallel strokes of cobalt, azure, and lapis blue. His shoulders are angled to our left, and he looks at us from the corners of his blue eyes. He has a long, slightly bumped nose, and his lips are closed within a full, rust-orange beard. He holds a palette and paintbrushes in his left hand, in the lower left corner of the canvas. The background is painted with long brushstrokes that follow the contours of his head and torso to create an aura-like effect.
Vincent van Gogh, Self-Portrait, 1889, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1998.74.5

Self-Portrait

Vincent van Gogh · 1889 · oil on canvas ·  Accession ID  1998.74.5

We look slightly down onto a stage, at a woman who dances at the center of this square painting. The pale, white skin on her face is tinged with slate-blue shadows and heightened noticeably with pink blush at the cheekbones. She wears crimson-red lipstick and her dark brown eyebrows are peaked over blue eyes. Two flaring pink flowers, each about the size of the woman’s face, are pinned in the woman’s flame-red hair. The black bodice of her dress has puffed, elbow-length sleeves and a low-cut square neckline. The lime-green skirt flares around her dancing feet to billow up and reveal layers of bubblegum pink underneath. Her body is angled to our left as she points her left, black-stockinged foot and holds her arms by her sides. Behind her, thirteen people dressed in sapphire-blue, ocean-green, and black costumes suggest a royal court, including a dark-haired man who wears a brick-red bolero style suit. He stands near the woman to our right, watching her dance.
Henri de Toulouse-Lautrec, Marcelle Lender Dancing the Bolero in "Chilpéric", 1895-1896, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1990.127.1

Marcelle Lender Dancing the Bolero in "Chilpéric"

Henri de Toulouse-Lautrec · 1895-1896 · oil on canvas ·  Accession ID  1990.127.1

A French window with its sill lined with flowerpots opens into a view of boats floating in a body of water in this loosely painted, vibrantly colored, stylized, vertical painting. The doors open inward, and they are painted with coral orange and cranberry red. The wall behind the door to the left is peacock blue and the wall to our right is fuchsia pink, and those colors are reflected in the opposite windows of the doors. Three flowerpots in crimson red, marmalade orange, or royal blue sit on the windowsill in front of us. Foliage in the pots is painted with short strokes of cardinal red and turquoise blue. Over the window, a two-paned transom window pierces a forest-green wall. The view through the panes has a band of salmon pink across the top and dabs of celery green and banana yellow below. The dabs and dashes of pine and lime green continue down the sides of the window and across the sill, suggesting vines growing up around the opening. A band of ultramarine blue beyond the flowerpots could be a balcony. Several rust-orange masts of ships with hulls painted with swipes of indigo blue, flamingo pink, forest green, and marigold orange float in the water beyond. The water is painted with parallel strokes in pale pink and butter yellow. The sky above is painted with thick, wavy lines of steel blue, periwinkle purple, and seafoam green. The artist signed the work in red paint in the lower right, “Henri Matisse.”
Henri Matisse, Open Window, Collioure, 1905, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1998.74.7

Open Window, Collioure

Henri Matisse · 1905 · oil on canvas ·  Accession ID  1998.74.7

We look across a sandy colored beach or walkway that stretches away from us to our right and then turns ninety degrees to our left in the distance, to enclose a teal-green body of water filled with rows of small rowboats in this nearly square, stylized landscape painting. The scene is loosely painted with vibrant colors, in jewel-toned topaz and royal blue, emerald and mint green, pale orchid purple, golden yellow, cream white, and crimson red. The boats grouped along the beach close to us are lined up in a row along the beach to our right, punctuated by a few vertical masts. The beach across from us in the distance is lined with a cotton candy-pink, pale lavender-purple, sage-green, and pumpkin-orange warehouses in front of a line of cobalt-blue mountains along the horizon, which comes nearly to the top edge of the canvas. The sky is pastel purple, green, yellow, and peach above. The artist signed the work in dark paint in the lower right corner: “Braque.”
Georges Braque, The Port of La Ciotat, 1907, oil on canvas, Collection of Mr. and Mrs. John Hay Whitney, 1998.74.6

The Port of La Ciotat

Georges Braque · 1907 · oil on canvas ·  Accession ID  1998.74.6

Bibliography

1981

  • Kahn, E.J. The Life and Times of John Hay Whitney. New York, 1981

1982

  • "John Hay Whitney Dies at 77; Published Led in Many Fields." The New York Times Biographical Service 13, no. 1-3 (Jan-Mar 1982):270-272

1998

  • "Philanthropist Betsey Cushing Roosevelt Whitney Dies." The Washington Post 27 March 1998:B6