{"exhibition":[{"id":"1182109","text":"Paris, Galeries Durand-Ruel, <em>Exposition d'œuvres récentes de Paul Gauguin,</em> November 9–25, 1893, no. 1 (as \"Ia Orana Maria (Ave Maria)\")","notes":[],"exh_id":"6819","seq_num":2,"scan_flag":true,"start_year":1893,"highlight_flag":false},{"id":"1238959","text":"New York, Metropolitan Museum of Art, <em>Fiftieth Anniversary Exhibition,</em> May 8–November 1, 1920 (Lender: Adolph Lewisohn)","notes":[],"exh_id":"50578","seq_num":16,"scan_flag":true,"start_year":1920,"highlight_flag":false},{"id":"1182712","text":"New York, Metropolitan Museum of Art, <em>Loan Exhibition of Impressionist and Post-Impressionist Paintings,</em> May 3–September 15, 1921, no. 47 (Lender: Adolph Lewisohn)","notes":["See Stein 2002:\n\"[...] Installation view, Loan Exhibition of Impressionist and Post-Impressionist Paintings, The Metropolitan Museum of Art, New York, 1921. Paintings by Gauguin are on the far wall, top, fourth from left to right: [...] Ia Orana Maria (cat. no. 55) [...], Archives, The Metropolitan Museum of Art, New York [...]\"\n\n"],"exh_id":"37906","seq_num":20,"scan_flag":true,"start_year":1921,"highlight_flag":false},{"id":"1189050","text":"New York, Union League Club, <em>Exhibition of 'Modern' Pictures Representing Impressionist, Post-Impressionist, Expressionist and Cubist Painters,</em> April 8–10, 1924, no. 16","notes":[],"exh_id":"62369","seq_num":22,"scan_flag":false,"start_year":1924,"highlight_flag":false},{"id":"1189396","text":"New York, Durand-Ruel Galleries, <em>Loan Exhibition of French Masterpieces of the Late XIX Century,</em> March 20–April 10, 1928, no. 8 (Lender: Adolph Lewisohn)","notes":[],"exh_id":"62436","seq_num":26,"scan_flag":false,"start_year":1928,"highlight_flag":false},{"id":"1183980","text":"New York, Knoedler & Co., <em>A Century of French Painting,</em> November 12–December 8, 1928, no. 29 (ill.) (Lender: Adolph Lewisohn, New York)","notes":[],"exh_id":"23244","seq_num":28,"scan_flag":true,"start_year":1928,"highlight_flag":false},{"id":"1184121","text":"New York, Museum of Modern Art, <em>Summer Exhibition: Painting and Sculpture: Retrospective,</em> June 15–September 28, 1930, no. 39, p. 5 (as \"Ia Orana-Maria\") (Lender: Adolph Lewisohn, New York)","notes":["\nInformation comes from Museum of Modern Art, New York: [checklist of the exhibition](https://assets.moma.org/documents/moma_master-checklist_324929.pdf?_ga=2.105546122.824795028.1607677305-275385361.1606209769)"],"exh_id":"24183","seq_num":32,"scan_flag":true,"start_year":1930,"highlight_flag":false},{"id":"1246959","text":"London, Royal Academy of Arts, <em>Exhibition of French Art, 1200–1900,</em> January 4–March 12, 1932, no. 540, p. 244 (Lender: Adolph Lewisohn Collection, New York)","notes":[],"exh_id":"51840","seq_num":35,"scan_flag":true,"start_year":1932,"highlight_flag":false},{"id":"1184710","text":"Chicago, Art Institute of Chicago, <em>A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections,</em> June 1–November 1, 1933, no. 366, p. 52 (ill. pl. LXIV, as \"We Greet Thee, Mary (Ia Orana Maria)\") (Lender: The Adolph Lewishon Collection, New York)","notes":[],"exh_id":"32457","seq_num":39,"scan_flag":true,"start_year":1933,"highlight_flag":false},{"id":"1185535","text":"New York, Museum of Modern Art, <em>Modern Works of Art: Fifth Anniversary Exhibition,</em> November 20, 1934–January 20, 1935, no. 12, p. 23 (ill. as \"We Greet You, Mary (Ia Orana Maria)\") (Lender: The Adolph Lewishon Collection)","notes":["[See Museum of Modern Art, New York](https://www.moma.org/calendar/exhibitions/1711?)"],"exh_id":"23294","seq_num":40,"scan_flag":true,"start_year":1934,"highlight_flag":false},{"id":"1189453","text":"Toledo Museum of Art, <em>Cézanne, Gauguin,</em> June–August 1935 (ill.) (Lender: Adolph Lewisohn)","notes":[],"exh_id":"62446","seq_num":41,"scan_flag":false,"start_year":1935,"highlight_flag":false},{"id":"1184896","text":"New York, Wildenstein & Co., Inc., <em>Paul Gauguin, 1848–1903,</em> March 20–April 18, 1936, no. 17, p. 29 (ill. pl. IV, p. 46, as \"We Greet Thee, Mary (Ia Orana Maria)\") (Lender: Adolph Lewisohn Collection, New York)","notes":[],"exh_id":"6836","seq_num":43,"scan_flag":true,"start_year":1936,"highlight_flag":false},{"id":"1185409","text":"Cleveland Museum of Art, <em>The Twentieth Anniversary Exhibition,</em> June 26–October 4, 1936, no. 276, pp. 107–8 (ill. pl. LXX) (Lender: The Adolph Lewishon Collection, New York)","notes":[],"exh_id":"32406","seq_num":45,"scan_flag":true,"start_year":1936,"highlight_flag":false},{"id":"1185861","text":"Paris, Palais National des Arts, <em>Chefs-d'œuvre de l'art français,</em> June–December 1937, no. 326, p. 162 (Lender: Adolph Lewisohn, New York)","notes":[],"exh_id":"4098","seq_num":48,"scan_flag":true,"start_year":1937,"highlight_flag":false},{"id":"1213363","text":"Brooklyn Museum, <em>Gauguin Prints and Drawings,</em> June 17–October 2, 1938 (as \"We Hail Thee, Mary (Ia Orana Maria)\") (Lender: The Lewisohn Collection, New York)","notes":["No cat.\nInformation comes from the Archives of the Brooklyn Museum, Brooklyn, New York: unnumbered checklist and  [installation view of the exhibition](https://www.brooklynmuseum.org/opencollection/exhibitions/786)"],"exh_id":"62970","seq_num":51,"scan_flag":false,"start_year":1938,"highlight_flag":false},{"id":"1186052","text":"New York, Museum of Modern Art, <em>Art in Our Time,</em> May 10–September 30, 1939, no. 67 (ill. as \"We Greet You, Mary (Ia Orana Maria)\") (Lender: The Lewisohn Collection, New York)","notes":["[See Museum of Modern Art, New York](https://www.moma.org/calendar/exhibitions/2743?)"],"exh_id":"23342","seq_num":54,"scan_flag":true,"start_year":1939,"highlight_flag":false},{"id":"1186457","text":"New York, World's Fair, <em>Masterpieces of Art: European & American Paintings, 1500–1900,</em> May–October 1940, no. 355, p. 244 (ill. p. 242) (Lender: The Lewisohn Collection, New York)","notes":[],"exh_id":"23371","seq_num":55,"scan_flag":true,"start_year":1940,"highlight_flag":false},{"id":"1188067","text":"New York, Wildenstein, <em>A Loan Exhibition of Paul Gauguin,</em> April 3–May 4, 1946, no. 19, p. 64 (ill. p. 35, as \"Ave Maria—Ia Orana Maria\") (Lender: Mr. and Mrs. Samuel A. Lewisohn)","notes":[],"exh_id":"53403","seq_num":62,"scan_flag":false,"start_year":1946,"highlight_flag":false},{"id":"1252833","text":"New York, Museum of Modern Art, <em>Paintings from New York Private Collections,</em> July 2–September 22, 1946 (as \"We Greet You, Mary (Ia Orana Maria)\") (Lender: Mr. and Mrs. Sam A. Lewisohn)","notes":["Information comes from the [Museum of Modern Art, New York](https://www.moma.org/calendar/exhibitions/2793?)"],"exh_id":"64072","seq_num":63,"scan_flag":false,"start_year":1946,"highlight_flag":false},{"id":"1188504","text":"Paris, Orangerie des Tuileries, <em>Gauguin: Exposition du centenaire,</em> 1949, no. 25, pp. 37–39 (ill. pl. VIII) (Lender: Mr. and Mrs. Sam A. Lewisohn, New York)","notes":[],"exh_id":"6922","seq_num":68,"scan_flag":true,"start_year":1949,"highlight_flag":false},{"id":"1188885","text":"New York, Rosenberg and Co., <em>The 19th Century Heritage,</em> March 7–April 1, 1950, no. 8 (ill. p. 34, as \"Ia Orana Maria (Ave Maria)\") (Lender: Mr. and Mrs. Sam A. Lewisohn)","notes":[],"exh_id":"23392","seq_num":77,"scan_flag":true,"start_year":1950,"highlight_flag":false},{"id":"1188886","text":"New York, Metropolitan Museum of Art, <em>The Lewisohn Collection,</em> November 2–December 2, 1951, no. 34 (color ill. p. 53)","notes":[],"exh_id":"23394","seq_num":80,"scan_flag":false,"start_year":1951,"highlight_flag":false},{"id":"1206725","text":"Paris, Musée National d'Art Moderne, <em>L'Oeuvre du XXe siècle: Peintures, sculptures,</em> May–June 1952, no. 31","notes":[],"exh_id":"20273","seq_num":81,"scan_flag":true,"start_year":1952,"highlight_flag":false},{"id":"1206377","text":"New York, Wildenstein, <em>Gauguin,</em> April 5–May 5, 1956, no. 22, p. 17 (ill. p. 40)","notes":[],"exh_id":"6932","seq_num":91,"scan_flag":true,"start_year":1956,"highlight_flag":false},{"id":"1185905","text":"Chicago, Art Institute of Chicago, <em>Gauguin: Paintings, Drawings, Prints, Sculpture,</em> February 12–March 29, 1959, no. 28, pp. 40–41 (color ill. p. 15, as \"I Hail Thee, Mary (Ia Orana Maria)\"). Traveled to: New York, Metropolitan Museum of Art, April 21–May 31, 1959","notes":[],"exh_id":"6935","seq_num":98,"scan_flag":true,"start_year":1959,"highlight_flag":false},{"id":"1208484","text":"Philadelphia, University Museum, University of Pennsylvania, <em>Gauguin and Exotic Art,</em> October 10–November 30, 1969, no. 3 (ill. as \"Ia Orana Maria (Ave Maria)\")","notes":[],"exh_id":"6817","seq_num":120,"scan_flag":false,"start_year":1969,"highlight_flag":false},{"id":"1217311","text":"Boston, Museum of Fine Arts, <em>Masterpieces of Painting in the Metropolitan Museum of Art,</em> September 16–November 1, 1970, p. 89 (color ill. p. 89, as \"Ia Orana Maria (I Hail Thee Mary)\")","notes":[],"exh_id":"63089","seq_num":121,"scan_flag":false,"start_year":1970,"highlight_flag":false},{"id":"1212965","text":"New York, Metropolitan Museum of Art, <em>Masterpieces of Fifty Centuries,</em> November 5, 1970–February 15, 1971, no. 384 (ill. p. 319)","notes":[],"exh_id":"23939","seq_num":122,"scan_flag":true,"start_year":1970,"highlight_flag":false},{"id":"1212281","text":"New York, Museum of Modern Art, <em>'Primitivism' in 20th Century Art: Affinity of the Tribal and the Modern,</em> September 27, 1984–January 15, 1985 (color ill. p. 178, as \"We Hail Thee Mary\"). Traveled to: Detroit Institute of Arts, February 27–May 19, 1985; Dallas Museum of Art, June 23–September 1, 1985","notes":["See Museum of Modern Art, New York: [Installation view of the exhibition](https://www.moma.org/calendar/exhibitions/1907?installation_image_index=13) and Dallas Museum of Art, Dallas: [Installation view of the exhibition](https://texashistory.unt.edu/ark:/67531/metapth534593/)"],"exh_id":"24537","seq_num":141,"scan_flag":true,"start_year":1984,"highlight_flag":false},{"id":"1210757","text":"Washington, D.C., National Gallery of Art, <em>The Art of Paul Gauguin,</em> May 1–July 31, 1988, no. 135, pp. 243–46 (color ill. p. 245, dated c. 1891–92). Traveled to: Chicago, Art Institute of Chicago, September 17–December 11, 1988; Paris, Galerie nationales du Grand-Palais, as <em>Gauguin,</em> January 10–April 24, 1989, no. 135, pp. 246, 248–49 (color ill. p. 247, as \"Ia orana Maria (Je vous salue Marie)\")","notes":[],"exh_id":"5626","seq_num":155,"scan_flag":false,"start_year":1988,"highlight_flag":false},{"id":"1212217","text":"Moscow, State Pushkin Museum of Fine Arts, <em>Гоген: Bзгляд из России</em> [Gauguin: A View from Russia], May 20–July 20, 1989, no. 22 (color ill. p. 169; color ill. p. 171, detail, as \"Ia orana Maria / Аве Мария [Ave Maria]\"). Traveled to: Leningrad, State Hermitage Museum, July 30–November 4, 1989","notes":[],"exh_id":"62938","seq_num":160,"scan_flag":false,"start_year":1989,"highlight_flag":false},{"id":"1189500","text":"New York, Metropolitan Museum of Art, <em>The Lure of the Exotic: Gauguin in New York Collections,</em> June 18–October 20, 2002, no. 55, p. 221 (color ill. p. 83, as \"Ia Orana Maria (Hail Mary)\")","notes":[],"exh_id":"26920","seq_num":179,"scan_flag":true,"start_year":2002,"highlight_flag":false},{"id":"1188923","text":"Paris, Galeries nationales du Grand Palais, <em>Gauguin Tahiti: L'atelier des tropiques,</em> September 30, 2003–January 19, 2004, no. 74, p. 375 (color ill. p. 71, as \"Ia orana Maria (Je vous salue Marie)\"). Traveled to: Boston, Museum of Fine Arts, as <em>Gauguin Tahiti,</em> February 29–June 20, 2004, no. 74 (color ill. p. 288, as \"Ia Orana Maria (Hail Mary),\" dated c. 1891–92)","notes":[],"exh_id":"27193","seq_num":190,"scan_flag":true,"start_year":2003,"highlight_flag":false},{"id":"1212855","text":"Houston, Museum of Fine Arts, <em>The Masterpieces of French Painting from the Metropolitan Museum of Art, 1800–1920,</em> February 4–May 6, 2007, no. 106 (color ill. p. 145; color ill. p. 144, detail; ill. p. 213, as \"Ia Orana Maria (Hail Mary)\"). Traveled to: Berlin, Neue Nationalgalerie, as <em>Französische Meisterwerke des 19. Jahrhunderts aus dem Metropolitan Museum of Art, New York,</em> June 1–October 7, 2007, p. 210 (color ill. p. 211, as \"I Orana Maria (Gegrüsset Seist Du, Maria) / Ia Orana Maria (Ave Maria)\")","notes":[],"exh_id":"4431","seq_num":197,"scan_flag":false,"start_year":2007,"highlight_flag":false}],"provenance":[{"id":"1224944","text":"<em>Michel Manzi,</em> Paris, acquired from the artist (November 1893, until 1915)","notes":["See Rewald (ed.) 1943: \nLetter from Paul Gauguin to Ambroise Vollard, September, 1900, Tahiti: \"[...] The picture I sold to Manzi for 2000 francs [Ia Orana Maria] was much less important. [...]\"\n\nInformation comes from the Metropolitan Museum of Art, New York: \"Michel Manzi, Paris (purchased at the Durand-Ruel exhibition, November 1893)\"\n\nSee Dorra 1952: \n\"[...] It was exhibited in Paris in 1893 at the Durand-Ruel exhibition of his work and was bought by dealer and collector Michel Manzi for two thousand francs [...]\"\n\nSee Perelman 2017:\n\"[...] Gauguin's exhibition at Durand-Ruel opened on November 9. [...] only eleven out of forty-one sold. [...]\"\n\"[...] Only three of the sales have been identified [...] Ia orana Maria (Hail Mary) [...] to Michel Manzi [...]\""],"seq_num":232,"looting_provenance_flag":false,"possession_provenance_flag":false},{"id":"1220208","text":"Succession Michel Manzi","notes":[],"seq_num":233,"looting_provenance_flag":false,"possession_provenance_flag":false},{"id":"1220208","text":"Sale, consigned by above to Galerie Manzi, Joyant & Cie, Paris, <em>Collection Manzi. tableaux, pastels, aquarelles, dessins … composant la Collection de feu M. Manzi,</em> March 13–14, 1919, no. 56","notes":[],"auc_id":"112816","seq_num":233,"scan_flag":true,"looting_provenance_flag":false,"possession_provenance_flag":false},{"id":"1220208","text":"<em>Knoedler & Co.</em>, New York, purchased at above sale","notes":["See [Painting stock book 6: 12653-15139, 1911 December-1920 July](https://rosettaapp.getty.edu/delivery/DeliveryManagerServlet?dps_pid=FL4156167)","Stock no.: 14697"],"seq_num":233,"looting_provenance_flag":false,"possession_provenance_flag":false},{"id":"1222360","text":"Adolph Lewisohn, New York, acquired from above (July 1919)","notes":["See [Painting stock book 6: 12653-15139, 1911 December-1920 July](https://rosettaapp.getty.edu/delivery/DeliveryManagerServlet?dps_pid=FL4156167)"],"seq_num":245,"looting_provenance_flag":false,"possession_provenance_flag":false},{"id":"1224098","text":"Sam A. Lewisohn, New York, by descent from above (1938)","notes":[],"seq_num":246,"looting_provenance_flag":false,"possession_provenance_flag":false},{"id":"1224099","text":"Metropolitan Museum of Art, New York, bequest from above (1951)","notes":["Accession no.: 51.112.2"],"seq_num":247,"looting_provenance_flag":false,"possession_provenance_flag":false}],"credit_line":"The Metropolitan Museum of Art, New York. Bequest of Sam A. Lewisohn, 1951","publication":[{"id":"1180979","text":"\"Opinions d'artistes,\" <em>L'Escarmouche</em> 2 (November 19, 1893) (as \"L'Ave Maria\")","notes":["\"[...] Chez-Durand-Ruel. – L'Exposition  de Paul Gauguin séduit par l'aspect général. [...] Ce travesti d'un civilisé très maître de son pinceau nous fait sourire. [...] nous restons indifférents devant l'évocateur des légendes tahitiennes, devant l'Ave Maria, qui n'est que du Bastien Lepage tahitien auquel il manque la musique d'un Gounod de là-bas. [...]\""],"pub_id":"270390","seq_num":1,"scan_flag":false,"start_year":1893,"highlight_flag":false},{"id":"1180939","text":"Louis Cardon, \"L'Exposition Paul Gauguin chez Duran-Ruel [sic],\" <em>L'Événement</em> (November 10, 1893), p. 2","notes":["\"[...] Nous recommandons particulièrement Ave Maria, d'une coloration intense et délicate, d'une grande profondeur de sentiment — oeuvre devant laquelle aucun peintre, aucun érudit en l'art d'amalgamer les tons ne saurait rester indifférent. [...]\""],"pub_id":"270380","seq_num":3,"scan_flag":false,"start_year":1893,"highlight_flag":false},{"id":"1180976","text":"Alfred Ernst, \"Les expositions d'art,\" <em>Le Parti national,</em> no. 2862 (November 15, 1893), p. 1","notes":["\"[...] Un événement artistique de signification bien supérieure c'est l'exposition de Gauguin dans les galeries Durand-Ruel. Elle provoque beaucoup d'admirations, beaucoup de protestations. [...]  voici deux tableaux que je retiens  particulièrement : [...] Une femme — la Vierge — que rien ne distingue des autres femmes de l'ile, hors l'étroite auréole qui décore sa tête, porte l'Enfant divin sur ses épaules ; deux autres personnages pris dans la réalité la plus pauvre et la plus touchante, révèlent son passage avec des regards innocents et d'adorantes attitudes, tandis qu'un ange émerge d'une haute touffe fleurie, comme si les volutes des tiges et le déroulement des longs pétales s'essoraient en une éclosion d'ailes. Le tout est d'une étonnante richesse décorative, extraordinairement fraîche et variée. [...]\""],"pub_id":"270387","seq_num":4,"scan_flag":false,"start_year":1893,"highlight_flag":false},{"id":"1180962","text":"Thadée Natanson, \"Expositions: Œuvres récentes de Paul Gauguin,\" <em>La Revue blanche</em> 5, no. 26 (December 1893), pp. 419, 420","notes":["\"[...] et, dans une autre toile, l'apparition là bas de la Vierge chrétienne. [...]\" (p. 419)\n\n\"[...] Dans l'aimable plaine claire parmi les arbres, à deux femmes rêveuses, une autre femme apparaît, presque aussi simple qu'elles sont, et, seulement, plus haute et plus douce et couronnée d'une auréole, portant sur son épaule l'Enfant Divin qui se penche sur sa tête. Ce sont les fleurs et des plumes d'oiseaux, qui font deviner dans un arbuste, le corps céleste de l'Ange qu'elles figurent. [...]\" (p. 420)"],"pub_id":"270382","seq_num":5,"scan_flag":false,"start_year":1893,"highlight_flag":false},{"id":"1182310","text":"Achille Delaroche, \"D’un point de vue esthétique: A Propos du peintre Paul Gauguin,\" <em>L'Ermitage</em> 8, no. 1 (January 1894), p. 38","notes":["\"[...] Plus loin, un vitrail lumineux de riches fleurs végétales et humaines : son enfant divin à l'épaule, une apparition auréolée de femme, devant laquelle deux autres joignent les mains parmi les fleurs, au geste d'un séraphin d'où s'exhalent, ainsi que d'un calice miraculeux, les paroles mystiques. Flore surnaturelle qui prie et chair qui fleurit, sur le seuil indécis du conscient et de l'inconscient. [...]\" "],"pub_id":"272556","seq_num":6,"scan_flag":false,"start_year":1894,"highlight_flag":false},{"id":"1218915","text":"Armand Dayot, \"La vie artistique: Paul Gauguin,\" <em>Le Figaro illustré,</em> no. 46 (January 1894), II (ill. p. III, as \"Ave Maria, souvenirs de Taïti\")","notes":[],"pub_id":"274299","seq_num":7,"scan_flag":false,"start_year":1894,"highlight_flag":false},{"id":"1241892","text":"Paul Gauguin and Charles Morice, \"Noa Noa,\" <em>La Revue blanche</em> 14 (October–December 1897), p. 85 (as \"Ia Orana\")","notes":[],"pub_id":"273022","seq_num":8,"scan_flag":false,"start_year":1897,"highlight_flag":false},{"id":"1186862","text":"Paul Gauguin and Charles Morice, \"Noa Noa: Point de vue,\" <em>La Plume</em> (1901), pp. 297–98","notes":["\"[...] Deux jeunes femmes, deux Tahitiennes aux beaux visages graves et naïfs, contemplent une Autre femme, de stature doucement surhumaine et portant à l'épaule un Enfant qui, d'un geste câlin, repose sa tête sur la tête de sa mère. Autour des deux têtes la divine auréole. Derrière les spectacles aux mains jointes, se tient un ange parmi les fleurs, riche, calme, lui-même une royale fleur. — Ia orana, Maria, disent-elles : \"Je vous salue, Marie.\" [...]\""],"pub_id":"273024","seq_num":9,"scan_flag":false,"start_year":1901,"highlight_flag":false},{"id":"1180974","text":"Thiébault-Sisson, \"Au jour le jour: Paul Gauguin,\" <em>Le Temps,</em> no. 15418 (September 2, 1903), p. 2","notes":["\"[...] Gauguin vint exposer chez Durand-Ruel [...] cette étrange série, où  les paysages purs et les tableaux de mœurs océaniques alternaient avec des scènes religieuses, des Annonciations, par exemple, et des Vierges mères dont les types étaient exclusivement taïtiens. [...]\" "],"pub_id":"270385","seq_num":10,"scan_flag":false,"start_year":1903,"highlight_flag":false},{"id":"1182110","text":"Henri Castets, \"Nécrologie: Gauguin,\" <em>Revue universelle: Recueil documentaire universel et illustré</em> 3, no. 77 (October 15, 1903), p. 536","notes":[],"pub_id":"270397","seq_num":11,"scan_flag":false,"start_year":1903,"highlight_flag":false},{"id":"1182111","text":"Jean de Rotonchamp, <em>Paul Gauguin, 1848–1903</em> (Paris: Édouard Druet Éditeur, 1906), pp. 107–8, 118, 119 (no. 1) (as \"Ia Orana Maria (Je vous salue, Marie) or (Ave Maria)\") (Collection: Michel Manzi)","notes":[],"pub_id":"270398","seq_num":12,"scan_flag":true,"start_year":1906,"highlight_flag":false},{"id":"1184558","text":"Charles Morice, <em>Paul Gauguin</em> (Paris: H. Floury, Éditeur, 1919), pp. 17, 183, 201 (as \"Ia orana Maria (Ave Maria)\")","notes":[],"pub_id":"103190","seq_num":13,"scan_flag":true,"start_year":1919,"highlight_flag":false},{"id":"1232709","text":"Egmont Arens, \"The Savagery of Gauguin,\" <em>Playboy: A Portfolio of Art and Satire,</em> no. 6 (1919), p. 4 (ill. p. 5)","notes":[],"pub_id":"292068","seq_num":14,"scan_flag":false,"start_year":1919,"highlight_flag":false},{"id":"1214306","text":"Hamilton Easter Field, \"Art New and Old in Current Shows,\" <em>Arts & Decoration</em> 12, no. 2 (December 15, 1919), p. 109 (ill. p. 109)","notes":[],"pub_id":"273815","seq_num":15,"scan_flag":false,"start_year":1919,"highlight_flag":false},{"id":"1218695","text":"\"French, English, and American Paintings,\" <em>Metropolitan Museum of Art Bulletin</em> 15, no. 9 (September 1920), p. 208 (as \"Ia Orana Maria, 'I salute you, Mary'\")","notes":[],"pub_id":"274236","seq_num":17,"scan_flag":false,"start_year":1920,"highlight_flag":false},{"id":"1187449","text":"John Gould Fletcher, <em>Paul Gauguin: His Life and Art</em> (New York: Nicholas L. Brown, 1921), pp. 103, 129 (as \"Ia Orana Maria or the Salutation to Mary\")","notes":[],"pub_id":"273056","seq_num":18,"scan_flag":false,"start_year":1921,"highlight_flag":false},{"id":"1216439","text":"R. A. Stephens, \"Art: Dutch Modern Painting,\" <em>New Age</em> 28, no. 14 (March 2, 1921), p. 165","notes":[],"pub_id":"274001","seq_num":19,"scan_flag":false,"start_year":1921,"highlight_flag":false},{"id":"1302994","text":"Willibrord Verkade, \"Erinnerungen an Paul Gauguin,\" <em>Hochland</em> 19 (October 1, 1921), p. 10 (as \"La Orana Maria (Grüss Dir, Maria)\")","notes":[],"pub_id":"300499","seq_num":251,"scan_flag":false,"start_year":1921,"highlight_flag":false},{"id":"1226638","text":"Erich Wiese, <em>Paul Gauguin: Zwei Jahrzehnte nach seinem Tode</em> (Leipzig: Verlag von Klinkhardt & Biermann, 1923), p. 13 (as \"Ja ora na Maria\")","notes":[],"pub_id":"113244","seq_num":21,"scan_flag":true,"start_year":1923,"highlight_flag":false},{"id":"1182302","text":"Gustave Kahn, \"Paul Gauguin,\" <em>L'Art et les artistes: Revue mensuelle d'art ancien et moderne</em> 12, no. 60–64 (October 1925–February 1926), pp. 59, 61 (as \"L'Orana Maria\")","notes":["\"[...] Un ange aux ailes jaunes indique à deux Tahitiennes Marie et Jésus... [...]\""],"pub_id":"272558","seq_num":23,"scan_flag":false,"start_year":1925,"highlight_flag":false},{"id":"1216133","text":"Louis Réau, <em>L'Art français aux États-Unis</em> (Paris: Henri Laurens, Éditeur, 1926), p. 147 (Collection: Adolph Lewisohn, New York)","notes":[],"pub_id":"273964","seq_num":24,"scan_flag":false,"start_year":1926,"highlight_flag":false},{"id":"1216310","text":"Stephan Bourgeois, <em>The Adolph Lewisohn Collection of Modern French Paintings and Sculptures</em> (New York: E. Weyhe, 1928), p. 161 (ill. p. 160)","notes":[],"pub_id":"98315","seq_num":25,"scan_flag":true,"start_year":1928,"highlight_flag":false},{"id":"1219570","text":"Stephan Bourgeois, \"The Passion of Art Collecting: Notes on the Adolph Lewisohn Collection,\" <em>Artnews</em> 26, no. 28 (April 14, 1928), p. 64 (ill. p. 67)","notes":[],"pub_id":"274438","seq_num":27,"scan_flag":false,"start_year":1928,"highlight_flag":false},{"id":"1184931","text":"Edith von Térey, \"Die Sammlung Adolph Lewisohn, New York,\" <em>Kunst und Künstler: Illustrierte Monatsschrift für Kunst und Kunstgewerbe</em> 27, no. 11 (1929), p. 418 (ill. p. 424) (Collection: Adolph Lewisohn, New York)","notes":[],"pub_id":"272868","seq_num":29,"scan_flag":false,"start_year":1929,"highlight_flag":false},{"id":"1182112","text":"Arsène Alexandre, <em>Paul Gauguin: Sa vie et le sens de son œuvre</em> (Paris: Bernheim-Jeune, Éditeurs d'art, 1930), pp. 131–40, 157, 161, 263–64, 272 (ill. p. 133)","notes":[],"pub_id":"15912","seq_num":30,"scan_flag":true,"start_year":1930,"highlight_flag":false},{"id":"1187304","text":"Felipe Cossio del Pomar, <em>Arte y vida de Pablo Gauguin (Escuela Sintetista)</em> (Madrid: León Sánchez Cuesta, 1930), p. 204 (as \"Ia orana Maria (Yo te saludo Maria)\")","notes":[],"pub_id":"103135","seq_num":31,"scan_flag":true,"start_year":1930,"highlight_flag":false},{"id":"1208150","text":"R[eginald] H[oward] Wilenski, <em>French Painting</em> (Boston: Hale, Cushman & Flint, 1931), pp. 289, 294 (ill. pl. 120, p. between 288 and 289, as \"Ia Orana Maria (Ave Maria)\") (Collection: Adolph Lewisohn, New York)","notes":[],"pub_id":"133168","seq_num":33,"scan_flag":false,"start_year":1931,"highlight_flag":false},{"id":"1209406","text":"André Dezarrois, \"Chroniques: L'Art français à Londres,\" <em>La Revue de l'art ancien et moderne</em> 61, no. 332 (January 1932), p. 103 (as \"Vierge Marie\")","notes":[],"pub_id":"273471","seq_num":34,"scan_flag":false,"start_year":1932,"highlight_flag":false},{"id":"1213985","text":"Stephan Bourgeois and Waldemar George, \"L'Art français du XIXe et du XXe siècles à la collection Adolphe et Samuel Lewisohn,\" <em>Formes: Revue internationale des arts plastiques,</em> no. 28–29 (September–October 1932), pp. 302, 303 (ill.) (Collection: Adolph Lewisohn, New York)","notes":[],"pub_id":"273555","seq_num":36,"scan_flag":false,"start_year":1932,"highlight_flag":false},{"id":"1213945","text":"Daniel Catton Rich, \"L'Exposition d'art français. L' 'Art Institute' de Chicago,\" <em>Formes: Revue internationale des arts plastiques,</em> no. 33 (1933), p. 383 (as \"Marie la Tahitienne\") (Collection: Adolph Lewisohn)","notes":[],"pub_id":"273562","seq_num":37,"scan_flag":false,"start_year":1933,"highlight_flag":false},{"id":"1220755","text":"\"Whole Century of French Painting Presented in the Progress Exhibit,\" <em>Art Digest</em> 7, no. 16 (May 15, 1933), p. 23 (as \"Tahitian Mary\") (Collection: Adolph Lewisohn, New York)","notes":[],"pub_id":"274644","seq_num":38,"scan_flag":false,"start_year":1933,"highlight_flag":false},{"id":"1188208","text":"Paul Gauguin, <em>Paul Gauguin's Intimate Journals,</em> trans. Van Wyck Brooks (New York: Crown Publishers, 1936) (color ill. p. 47, as \"We Greet Thee Mary\") (Collection: Lewisohn, New York)","notes":[],"pub_id":"273129","seq_num":42,"scan_flag":false,"start_year":1936,"highlight_flag":false},{"id":"1183694","text":"Alfred M. Frankfurter, \"Gauguin: Fifty Paintings in a First American One Man Loan Exhibition,\" <em>Artnews</em> 34, no. 25 (March 21, 1936), p. 6 (Collection: Adolph Lewisohn)","notes":[],"pub_id":"272741","seq_num":44,"scan_flag":false,"start_year":1936,"highlight_flag":false},{"id":"1217009","text":"Sam A. Lewisohn, <em>Painters and Personality: A Collector's View of Modern Art</em> (New York: Harper & Brothers, 1937), p. 61 (ill. pl. 32, p. 63) (Collection: Lewisohn)","notes":[],"pub_id":"274049","seq_num":46,"scan_flag":false,"start_year":1937,"highlight_flag":false},{"id":"1212939","text":"Germain Bazin, \"La rétrospective d'art français: Notices historiques; XIXe siècle; Les précurseurs du XXe siècle,\" <em>L'Amour de l'art,</em> no. 5 (May 1937) (ill. fig. 97, p. 40, as \"La Orana Maria\") (Collection: Adolph Lewisohn, New York)","notes":[],"pub_id":"273633","seq_num":47,"scan_flag":false,"start_year":1937,"highlight_flag":false},{"id":"1207040","text":"Pola Gauguin, <em>Paul Gauguin: Mon père</em> (Paris: Les Éditions de France, 1938), pp. 167–68 (as \"Ia Orana Maria. Je te salue, Marie\")","notes":[],"pub_id":"113222","seq_num":49,"scan_flag":true,"start_year":1938,"highlight_flag":false},{"id":"1242830","text":"John Rewald, <em>Gauguin</em> (Paris: Éditions Hypérion, 1938), p. 167 (ill. p. 111, as \"Ia Orana Maria: Je vous salue, Marie\") (Collection: Adolph Lewisohn)","notes":[],"pub_id":"15930","seq_num":50,"scan_flag":true,"start_year":1938,"highlight_flag":false},{"id":"1220039","text":"Sam A. Lewisohn, \"Four Memoirs of the Growth of Art and Taste in America: The Collector; Personalities Past and Present,\" <em>Artnews Annual</em> 37, no. 22 (1939), p. 154 (ill. p. 69, installation view)","notes":[],"pub_id":"108069","seq_num":52,"scan_flag":false,"start_year":1939,"highlight_flag":false},{"id":"1219777","text":"Mary H. Piexotto, \"Famous Art Collections: The Lewisohn Collection,\" <em>Studio</em> 117, no. 552 (March 1939), pp. 95, 102–3 (ill. p. 101) (Collection: Sam Adolph Lewisohn)","notes":[],"pub_id":"274487","seq_num":53,"scan_flag":false,"start_year":1939,"highlight_flag":false},{"id":"1297960","text":"R[eginald] H[oward] Wilenski, <em>Modern French Painters</em> (New York: Reynal & Hitchcock, 1940), p. 131 (as \"Ia Orana Maria (Ave Maria)\") (Collection: Adolph Lewisohn, New York)","notes":[],"pub_id":"299471","seq_num":249,"scan_flag":false,"start_year":1940,"highlight_flag":false},{"id":"1217764","text":"Regina Shoolman and Charles E. Slatkin, <em>The Enjoyment of Art in America</em> (Philadelphia: J.B. Lippincott Company, 1942), p. 561","notes":[],"pub_id":"274159","seq_num":56,"scan_flag":false,"start_year":1942,"highlight_flag":false},{"id":"1182113","text":"Maurice Malingue, <em>Gauguin</em> (Monaco: Les Documents d'Art, 1943), pp. 30, 155 (ill. p. 89, as \"Je vous salue Marie: Ia orana Maria\")","notes":[],"pub_id":"15926","seq_num":57,"scan_flag":true,"start_year":1943,"highlight_flag":false},{"id":"1220625","text":"John Rewald, ed., <em>Paul Gauguin: Letters to Ambroise Vollard and André Fontainas</em> (San Francisco: Grabhorn Press, 1943), p. 39","notes":["Letter from Paul Gauguin to Ambroise Vollard, [Tahiti] September, 1900: \"[...] The picture I sold to Manzi for 2000 francs [Ia Orana Maria] was much less important. [...]\""],"pub_id":"110265","seq_num":58,"scan_flag":false,"start_year":1943,"highlight_flag":false},{"id":"1206605","text":"Edward Alden Jewell and Aimée Crane, <em>French Impressionists and Their Contemporaries Represented in American Collections</em> (New York: Hyperion Press, 1944) (color ill. p. 165) (Collection: Lewisohn, New York)","notes":[],"pub_id":"115051","seq_num":59,"scan_flag":false,"start_year":1944,"highlight_flag":false},{"id":"1220248","text":"Antony De Witt, <em>Paul Gauguin,</em> 2nd ed. (Milan: Ulrico Hoepli Editore, 1945) (ill. pl. XV, as \"Ti saluto, Maria (Ia orana Maria)\")","notes":[],"pub_id":"273879","seq_num":60,"scan_flag":false,"start_year":1945,"highlight_flag":false},{"id":"1214003","text":"Hans Graber, <em>Paul Gauguin: Nach eigenen und fremden Zeugnissen</em> (Basel: Benno Schwabe Verlag, 1946), pp. 202–3, 214, 235, 238, 326, 351, 377 (ill. between pp. 284–85, as \"Ia orana Maria (Ich grüsse Dich, Maria)\")","notes":[],"pub_id":"103139","seq_num":61,"scan_flag":true,"start_year":1946,"highlight_flag":false},{"id":"1181063","text":"Raymond Cogniat, <em>Gauguin</em> (Paris: Édition Pierre Tisné, 1947) (ill. pl. 63, as \"Ia Orana Maria: Hail Mary !\")","notes":[],"pub_id":"270406","seq_num":64,"scan_flag":true,"start_year":1947,"highlight_flag":false},{"id":"1188777","text":"Maurice Malingue, <em>Gauguin: Le peintre et son œuvre</em> (Paris: Les Presses de la Cité, 1948) (color ill. between pp. 192–93, as \"Ia ohana Maria, 'Je vous salue Marie'\") (Collection: Mr. and Mrs. Sam A. Lewisohn)","notes":[],"pub_id":"223672","seq_num":65,"scan_flag":true,"start_year":1948,"highlight_flag":false},{"id":"1214723","text":"Henri Perruchot, <em>Gauguin: Sa vie ardente et misérable</em> (Paris: Le Sillage, 1948), pp. 188, 190–91 (ill. between pp. 96–97) (Collection: Samuel A. Lewisohn, New York)","notes":[],"pub_id":"113230","seq_num":66,"scan_flag":true,"start_year":1948,"highlight_flag":false},{"id":"1209120","text":"Frank Elgar, <em>Gauguin</em> (Paris: Fernand Hazan, 1949), no. 16 (color ill. as \"Ia Orana, Maria (Je vous salue, Marie)\") (Collection: Sam A. Lewisohn)","notes":[],"pub_id":"113198","seq_num":67,"scan_flag":true,"start_year":1949,"highlight_flag":false},{"id":"1221013","text":"Denys Sutton, \"Paul Gauguin (1848–1903),\" <em>Maandblad voor beeldende kunsten</em> (April–May 1949) (ill. p. 107)","notes":[],"pub_id":"274663","seq_num":69,"scan_flag":false,"start_year":1949,"highlight_flag":false},{"id":"1188617","text":"Jean Leymarie, \"Musée de l'Orangerie: Exposition Gauguin,\" <em>Musées de France,</em> no. 5 (June 1949), p. 110 (color ill. on cover) (Collection: Lewisohn, New York)","notes":[],"pub_id":"273161","seq_num":70,"scan_flag":true,"start_year":1949,"highlight_flag":false},{"id":"1181909","text":"Jean Bouret, \"A l'Orangerie: L'Exposition Gauguin à travers les salles,\" <em>Arts: Beaux-arts, littérature, spectacles,</em> no. 222 (July 8, 1949), p. 8 (as \"La Orana Maria\")","notes":[],"pub_id":"272528","seq_num":71,"scan_flag":false,"start_year":1949,"highlight_flag":false},{"id":"1220068","text":"Alexander Watt, \"The Centenary Exhibition of the Work of Gauguin,\" <em>Apollo</em> 50, no. 296 (October 1949), p. 98 (Collection: Mr. and Mrs. Sam A. Lewisohn, New York)","notes":[],"pub_id":"274544","seq_num":72,"scan_flag":true,"start_year":1949,"highlight_flag":false},{"id":"1241957","text":"Denys Sutton, \"The Paul Gauguin Exhibition,\" <em>Burlington Magazine</em> 91, no. 559 (October 1949), p. 284 (note 9) (Collection: Mr. and Mrs. Sam A. Lewisohn, New York)","notes":[],"pub_id":"273045","seq_num":73,"scan_flag":true,"start_year":1949,"highlight_flag":false},{"id":"1184173","text":"Maria Piera Cazzulo, \"La Mostra di Gauguin a Parigi,\" <em>Emporium</em> 110, no. 659 (November 1949), p. 198 (as \"Ia orana Maria (Vi saluto Maria)\") (Collection: Mr. and Mrs. Sam A. Lewisohn, New York)","notes":[],"pub_id":"272791","seq_num":74,"scan_flag":false,"start_year":1949,"highlight_flag":false},{"id":"1182115","text":"Lee van Dovski, <em>Paul Gauguin oder die Flucht vor der Zivilisation</em> (Olten: Delphi-Verlag, 1950), no. 245, pp. 281, 347 (ill. fig. 22, between pp. 284–85, as \"Ja ora na Maria / Ia ora na Maria (Je vous salue Marie)\")","notes":[],"pub_id":"113241","seq_num":75,"scan_flag":true,"start_year":1950,"highlight_flag":false},{"id":"1219315","text":"Annie Joly-Segalen, ed., <em>Lettres de Gauguin à Daniel de Monfreid</em> (Paris: Georges Falaize, 1950), p. 54 (III), 77 (XVI), 127 (XLV), 145 (LV), 158 (LXIII)","notes":["\"[...] J'ai fait pourtant un tableau, une toile de 50. Un ange aux ailes jaunes indique à deux femmes tahitiennes Marie et Jésus tahitiens aussi — du nu vêtu du Paréo, espèce de cotonnade à fleurs qui s'attache comme on veut à la ceinture. Fond de montagne très sombre et arbres à fleurs — Chemin violet foncé et premier plan vert émeraude ; à gauche des bananes — J'en suis assez content —[...]\" (III-March 11, 1892)\n\n\"Mon cher Daniel, Depuis que je suis arrivé, je fais des courses, des courses toutes inutiles : personne à Paris. Si pourtant, j'ai vu Durand-Ruel qui m'a reçu favorablement et qui a repris le commerce des impressionnistes ; vente qu'il avait abandonnée autrefois. [...] — Il m'a promis de venir voir mes œuvres quand elles seraient prêtes et d'en faire une exposition chez lui. Je vais donc m'atteler à tout cela [...]\" (XVI-Paris, September 12, 1893)\n\n\"[...] Pour le grand tableau, il ne faut pas être difficile comme prix, à cause de ses dimensions, pourvu qu'il soit bien placé entre bonnes mains: (causez-en avec Lerolle). Si Manzi qui a acheté le \"Iora na Maria\" voulait se l'offrir, n'hésitez pas... il aime les pièces importantes [...]\" (XLV-July 1898)\n\n\"[...] je tâcherai malgré ma misère de faire une douzaine de bonnes toiles que vous exposeriez avec quelques anciennes toiles — comme l'Iora na Maria si Manzi la prêtait [...]\" (LV-June 1899)\n\n\"[...] Si Vollard fait une exposition au moment de l'Exposition universelle, je voudrais qu'elle fût faite avec beaucoup de discernement. C'est-à-dire qu'il faudrait, avec les quelques toiles récentes, exposer quelques bonnes toiles anciennes. Entre autre Le Iaora na Maria de chez Manzi [...]\" (LXIII-April 1900)"],"pub_id":"113215","seq_num":76,"scan_flag":false,"start_year":1950,"highlight_flag":false},{"id":"1217731","text":"Jean Loize, <em>De Maillol et Codet à Segalen: Les Amitiés du peintre Georges-Daniel de Monfreid et ses reliques de Gauguin</em> (Paris: Jean Loize, 1951), pp. 54, 93 (nos. 125–36), 98 (no. 175) (as \"'Je vous salue Marie' Ia Orana Maria\")","notes":["\"[...] Enfin MANZI possédait la plus belle réussite peut-être du premier séjour tahitien : \"Ia orana Maria\". [...]\" (p. 54) "],"pub_id":"105256","seq_num":78,"scan_flag":true,"start_year":1951,"highlight_flag":false},{"id":"1187095","text":"Bernard Dorival, \"Sources of the Art of Gauguin from Java, Egypt and Ancient Greece,\" <em>Burlington Magazine</em> 93, no. 577 (April 1951), p. 118 (ill. fig. 16, p. 119) (Collection: Samuel A. Lewisohn, New York)","notes":[],"pub_id":"273042","seq_num":79,"scan_flag":true,"start_year":1951,"highlight_flag":false},{"id":"1217477","text":"Henri Dorra, \"Ia Orana Maria,\" <em>Metropolitan Museum of Art Bulletin</em> 10, no. 9 (May 1952), pp. 254–60 (ill. p. 254)","notes":["\"[...] It was exhibited in Paris in 1893 at the Durand-Ruel exhibition of his work and was bought by the dealer and collector Michel Manzi for two thousand francs [...]\" (p. 255)"],"pub_id":"274125","seq_num":82,"scan_flag":false,"start_year":1952,"highlight_flag":false},{"id":"1181594","text":"Jean Taralon, <em>Gauguin</em> (Paris: Éditions du Chêne, 1953) (ill. no. 41, p. 7, as \"Ia Orana Maria (Je vous salue, Marie),\" dated 1892)","notes":[],"pub_id":"110278","seq_num":83,"scan_flag":false,"start_year":1953,"highlight_flag":false},{"id":"1185904","text":"Henri Dorra, <em>The Metropolitan Museum of Art Miniatures: Paul Gauguin, 1848–1903</em> (New York: Metropolitan Museum of Art, 1953), no. 16 (color ill. no. 16)","notes":[],"pub_id":"229752","seq_num":84,"scan_flag":true,"start_year":1953,"highlight_flag":false},{"id":"1185538","text":"Henri Dorra, \"The First Eves in Gauguin's Eden,\" <em>Gazette des Beaux-Arts</em> 41, no. 140 (March 1953), p. 189 (ill. fig. 2, p. 191)","notes":[],"pub_id":"272902","seq_num":85,"scan_flag":false,"start_year":1953,"highlight_flag":false},{"id":"1185230","text":"Josephine L. Allen and Elizabeth E. Gardner, <em>A Concise Catalogue of the European Paintings in the Metropolitan Museum of Art</em> (New York: Metropolitan Museum of Art, 1954), p. 40","notes":[],"pub_id":"110059","seq_num":86,"scan_flag":false,"start_year":1954,"highlight_flag":false},{"id":"1216613","text":"Bernard Dorival, <em>Paul Gauguin: Carnet de Tahiti,</em> vol. 1 [Text] (Paris: Quatre Chemins-Editart, 1954), pp. 17, 26, 29, 36","notes":[],"pub_id":"274016","seq_num":87,"scan_flag":false,"start_year":1954,"highlight_flag":false},{"id":"1216614","text":"Bernard Dorival, <em>Paul Gauguin: Carnet de Tahiti,</em> vol. 2 [Facsimile] (Paris: Quatre Chemins-Editart, 1954), p. 2 r, 72 v, 73 r, 73 v (as \"Ia Orana\")","notes":[],"pub_id":"272538","seq_num":88,"scan_flag":false,"start_year":1954,"highlight_flag":false},{"id":"1218895","text":"Theodore Rousseau, Jr., \"A Guide to the Picture Galleries,\" <em>Metropolitan Museum of Art Bulletin</em> 12, no. 5 (January 1954), p. 7","notes":[],"pub_id":"274290","seq_num":89,"scan_flag":false,"start_year":1954,"highlight_flag":false},{"id":"1207244","text":"John Rewald, <em>Post-Impressionism: From Van Gogh to Gauguin</em> (New York: Museum of Modern Art, 1956), pp. 502, 506, 514 (ill. p. 506, as \"Ia Orana Maria—Ave Maria\")","notes":[],"pub_id":"132303","seq_num":90,"scan_flag":true,"start_year":1956,"highlight_flag":false},{"id":"1214109","text":"B. H. [Bernard Harper] Friedman, \"Current and Forthcoming Exhibitions,\" <em>Burlington Magazine</em> 98, no. 639 (June 1956), p. 212","notes":[],"pub_id":"273783","seq_num":92,"scan_flag":true,"start_year":1956,"highlight_flag":false},{"id":"1242064","text":"R. F. C., \"Una mostra di Gauguin alla galleria Wildenstein di New York,\" <em>Emporium</em> 124, no. 740 (August 1956), p. 77","notes":[],"pub_id":"272799","seq_num":93,"scan_flag":false,"start_year":1956,"highlight_flag":false},{"id":"1186992","text":"Robert Goldwater, <em>Paul Gauguin</em> (New York: Harry N. Abrams, 1957), pp. 100, 132, 136 (color ill. p. 101, as \"We greet Thee, Mary (Ia Orana Maria)\")","notes":[],"pub_id":"15920","seq_num":94,"scan_flag":true,"start_year":1957,"highlight_flag":false},{"id":"1182597","text":"L.-J. [Louis-Joseph] Bouge, \"Traduction et interprétation des titres en langue tahitienne inscrits sur les œuvres océaniennes de Paul Gauguin,\" in <em>Gazette des Beaux-Arts,</em> special issue, <em>Gauguin: Sa vie, son œuvre; Réunion de textes, d'études, de documents,</em> ed. Georges Wildenstein (1958), no. 18, p. 162 (as \"Ia Orana Maria – Je vous salue Marie\")","notes":[],"pub_id":"272579","seq_num":95,"scan_flag":true,"start_year":1958,"highlight_flag":false},{"id":"1214568","text":"John Canaday, <em>Mainstreams of Modern Art</em> (London: Thames and Hudson, 1959), pp. 382–83 (ill. fig. 458, p. 382)","notes":[],"pub_id":"128706","seq_num":96,"scan_flag":false,"start_year":1959,"highlight_flag":false},{"id":"1218904","text":"Maurice Denis, <em>Journal,</em> vol. 3, <em>1921–1943</em> (Paris: La Colombe, Éditions du Vieux Colombier, 1959), p. 83","notes":["\"[...] Lundi 3 octobre [1927]. Retour à New York [...] Galerie Lewison, visitée avec Guillaume seul, où il y a [...] le grand Gauguin, Orana, celui que j'ai restauré [...]\""],"pub_id":"274293","seq_num":97,"scan_flag":false,"start_year":1959,"highlight_flag":false},{"id":"1183564","text":"Marshall B. Davidson, \"The Enigmatic Islands of Paul Gauguin,\" <em>Horizon</em> 2, no. 3 (January 1960), p. 32 (ill. fig. 7, p. 40, as \"I hail thee Mary (Ia Orana Maria)\")","notes":[],"pub_id":"272731","seq_num":99,"scan_flag":false,"start_year":1960,"highlight_flag":false},{"id":"1206489","text":"Henri Perruchot, \"La Vie de Gauguin,\" in <em>Gauguin</em> (Paris: Librairie Hachette, 1960), p. 34 (as \"Ia Orana, Maria (Je vous salue, Marie)\")","notes":[],"pub_id":"273227","seq_num":100,"scan_flag":true,"start_year":1960,"highlight_flag":false},{"id":"1206553","text":"Bernard Dorival, \"Le Milieu,\" in <em>Gauguin</em> (Paris: Librairie Hachette, 1960), pp. 87, 90 (dated 1892)","notes":[],"pub_id":"273232","seq_num":101,"scan_flag":true,"start_year":1960,"highlight_flag":false},{"id":"1206643","text":"Maurice Malingue, \"L'homme qui a réinventé la peinture,\" in <em>Gauguin</em> (Paris: Librairie Hachette, 1960), p. 122","notes":[],"pub_id":"273238","seq_num":102,"scan_flag":true,"start_year":1960,"highlight_flag":false},{"id":"1206767","text":"Claude Roger-Marx, \"Ce que lui doit la peinture contemporaine,\" in <em>Gauguin</em> (Paris: Librairie Hachette, 1960) (ill. p. 197)","notes":[],"pub_id":"273240","seq_num":103,"scan_flag":true,"start_year":1960,"highlight_flag":false},{"id":"1206782","text":"Maurice Rheims, \"La cote des Gauguin,\" in <em>Gauguin</em> (Paris: Librairie Hachette, 1960), p. 234","notes":["\"[...] En 1919, Knoedler achète Ia Orana Maria pour 58 000 francs [...]\""],"pub_id":"273247","seq_num":104,"scan_flag":true,"start_year":1960,"highlight_flag":false},{"id":"1243046","text":"John Canaday, <em>Metropolitan Seminars in Art: Great Periods in Painting,</em> <em>Portfolio K: Painting in Transition; Precursors of Modern Art</em> (New York: Metropolitan Museum of Art, 1960), p. 24","notes":[],"pub_id":"275075","seq_num":105,"scan_flag":false,"start_year":1960,"highlight_flag":false},{"id":"1188209","text":"Henri Perruchot, <em>La Vie de Gauguin</em> (Paris: Librairie Hachette, 1961), pp. 252–53, 271, 275 (as \"Ia Orana Maria (je vous salue Marie)\")","notes":[],"pub_id":"113231","seq_num":106,"scan_flag":true,"start_year":1961,"highlight_flag":false},{"id":"1182116","text":"Georges Boudaille, <em>Gauguin</em> (Paris: Éditions Aimery Somogy, 1963), pp. 169, 175, 186, 190, 203 (color ill. p. 121) (Collection: The Metropolitan Museum of Art, New York)","notes":[],"pub_id":"103131","seq_num":107,"scan_flag":true,"start_year":1963,"highlight_flag":false},{"id":"1234695","text":"Alfred Langer, <em>Paul Gauguin</em> (Leipzig: VEB E.A. Seemann, 1963), p. 53 (ill. pl. 57, as \"Ia orana Maria - Wir grüssen dich, Maria\")","notes":[],"pub_id":"15924","seq_num":108,"scan_flag":true,"start_year":1963,"highlight_flag":false},{"id":"1180725","text":"Georges Wildenstein, <em>Gauguin</em> (Paris: Les Beaux-arts, éditions d'études et de documents, 1964), no. 428, pp. 167–68 (ill. p. 167, as \"Ia Orana Maria Je vous salue Marie.\") (Collection: Metropolitan Museum of Art, New York)","notes":[],"pub_id":"7513","seq_num":109,"scan_flag":true,"start_year":1964,"highlight_flag":false},{"id":"1186942","text":"Bengt Danielsson, <em>Gauguin in the South Seas</em> (London: George Allen & Unwin, 1965), pp. 90–91, 142, 144, 145, 190 (as \"Ia Orana Maria (Ave Maria)\")","notes":[],"pub_id":"273017","seq_num":110,"scan_flag":false,"start_year":1965,"highlight_flag":false},{"id":"1187602","text":"Charles Chassé, <em>Gauguin sans légendes</em> (Paris: Éditions du temps, 1965), pp. 64–65, 147 (ill. p. 151, as \"Ia Orana Maria / Je vous salue, Marie\")","notes":[],"pub_id":"113179","seq_num":111,"scan_flag":true,"start_year":1965,"highlight_flag":false},{"id":"1212585","text":"Patrick O'Reilly, <em>Catalogue du Musée Gauguin: Papeari, Tahiti</em> (Paris: Fondation Singer-Polignac, 1966), no. 210, p. 61 (as \"Ia Orana Maria. Je vous salue Marie\")","notes":[],"pub_id":"273591","seq_num":112,"scan_flag":false,"start_year":1966,"highlight_flag":false},{"id":"1219544","text":"Paul Gauguin, <em>Noa Noa,</em> ed. Jean Loize (Paris: André Balland, éditeur, 1966), p. 128 (as \"Ia Orana Maria, Je vous salue Marie\")","notes":[],"pub_id":"231761","seq_num":113,"scan_flag":true,"start_year":1966,"highlight_flag":false},{"id":"1186891","text":"William M. Kane, \"Gauguin's 'Le Cheval Blanc': Sources and Syncretic Meanings,\" <em>Burlington Magazine</em> 108, no. 760 (July 1966), p. 357","notes":[],"pub_id":"273025","seq_num":114,"scan_flag":true,"start_year":1966,"highlight_flag":false},{"id":"1187999","text":"Charles Sterling and Margaretta M. Salinger, <em>French Paintings: A Catalogue of the Collection of the Metropolitan Museum of Art,</em> vol. 3, <em>XIX–XX Centuries</em> (New York: Metropolitan Museum of Art, 1967), pp. 170–74 (ill. p. 171)","notes":[],"pub_id":"109988","seq_num":115,"scan_flag":false,"start_year":1967,"highlight_flag":false},{"id":"1222322","text":"Paul C. Nicholls, <em>Gauguin</em> (New York: Tudor Publishing Company, 1967), pp. 13, 25 (color ill. pl. 34)","notes":[],"pub_id":"223674","seq_num":116,"scan_flag":true,"start_year":1967,"highlight_flag":false},{"id":"1182021","text":"Bengt Danielsson, \"Gauguin's Tahitian Titles,\" <em>Burlington Magazine</em> 109, no. 769 (April 1967), no. 20, p. 231","notes":[],"pub_id":"272534","seq_num":117,"scan_flag":true,"start_year":1967,"highlight_flag":false},{"id":"1209341","text":"Margaretta M. Salinger, \"Windows Open to Nature,\" <em>Metropolitan Museum of Art Bulletin</em> 27, no. 1 (Summer 1968) (ill.)","notes":[],"pub_id":"273469","seq_num":118,"scan_flag":false,"start_year":1968,"highlight_flag":false},{"id":"1183537","text":"Bengt Danielsson, \"The Exotic Sources of Gauguin's Art,\" <em>Expedition: The Bulletin of the University Museum of the University of Pennsylvania</em> 11, no. 4 (Summer 1969), pp. 22–23 (ill. p. 23, as \"Ia orana Maria (Ave Maria)\")","notes":[],"pub_id":"272725","seq_num":119,"scan_flag":false,"start_year":1969,"highlight_flag":false},{"id":"1186744","text":"Wayne Andersen, <em>Gauguin's Paradise Lost</em> (New York: Viking Press, 1971), pp. 187–88, 190–94, 232 (ill. fig. 109, p. 329, as \"We Greet Thee, Mary (Ia Orana Maria)\")","notes":[],"pub_id":"103176","seq_num":123,"scan_flag":true,"start_year":1971,"highlight_flag":false},{"id":"1182117","text":"G. M. [Gabriele Mandel] Sugana, <em>L'Opera completa di Gauguin</em> (Milan: Rizzoli Editore, 1972), no. 263, p. 102 (ill. p. 102)","notes":[],"pub_id":"6930","seq_num":124,"scan_flag":true,"start_year":1972,"highlight_flag":false},{"id":"1266720","text":"Teddy Brunius, <em>Mutual Aid in the Arts: From the Second Empire to Fin de Siècle</em> (Stockholm: Almqvist & Wiksell, 1972), pp. 180-181 (ill. p. 179)","notes":[],"pub_id":"128712","seq_num":125,"scan_flag":false,"start_year":1972,"highlight_flag":false},{"id":"1182118","text":"Lee van Dowski, <em>Die Wahrheit über Gauguin</em> (Darmstadt: Josef Gotthard Bläschke Verlag, 1973), no. 245, p. 268 (ill. p. 199, as \"Ja Orana Maria (Gegrüsset seist du, Maria) / Ja Orana Maria (Je vous salue Marie)\")","notes":[],"pub_id":"15947","seq_num":126,"scan_flag":true,"start_year":1973,"highlight_flag":false},{"id":"1187127","text":"Ziva Amishai-Maisels, \"Gauguin's 'Philosophical Eve,'\" <em>Burlington Magazine</em> 115, no. 843 (June 1973), p. 374","notes":[],"pub_id":"272919","seq_num":127,"scan_flag":true,"start_year":1973,"highlight_flag":false},{"id":"1182119","text":"Elda Fezzi, Fiorella Minervino, and Marc Sanson, <em>'Noa Noa' e il primo viaggio a Tahiti di Gauguin</em> (Milan: Rizzoli Editore, 1974), no. 136, pp. 69, 85–86, 131 (color ill. p. 105; color ill. pl. XIV)","notes":[],"pub_id":"110277","seq_num":128,"scan_flag":false,"start_year":1974,"highlight_flag":false},{"id":"1182120","text":"Bengt Danielsson, <em>Gauguin à Tahiti et aux îles Marquises</em> (Papeete: Les Éditions du Pacifique, 1975), pp. 91, 143, 145–47, 199","notes":[],"pub_id":"103205","seq_num":129,"scan_flag":true,"start_year":1975,"highlight_flag":false},{"id":"1206701","text":"Max-Pol Fouchet, <em>Introduction à Gauguin</em> (Paris: Henri Scrépel, 1975), p. 49 (color ill. as \"Ia Orana Maria Je vous salue Marie\")","notes":[],"pub_id":"217575","seq_num":130,"scan_flag":true,"start_year":1975,"highlight_flag":false},{"id":"1207213","text":"Pierre Leprohon, <em>Paul Gauguin</em> (Paris: Gründ, 1975), pp. 206, 210–11, 330, 338","notes":[],"pub_id":"103180","seq_num":131,"scan_flag":true,"start_year":1975,"highlight_flag":false},{"id":"1243157","text":"Georges Szabó, <em>The Robert Lehman Collection: A Guide</em> (New York: Metropolitan Museum of Art, 1975), p. 99 (as \"Ia Orana Maria—Ave Maria\")","notes":[],"pub_id":"100861","seq_num":132,"scan_flag":false,"start_year":1975,"highlight_flag":false},{"id":"1189814","text":"Vojtěch Jirat-Wasiutyński, \"Gauguin in the Context of Symbolism,\" vol. 1 (PhD diss., Princeton: Princeton University, 1975), pp. 337, 349","notes":[],"pub_id":"9453","seq_num":133,"scan_flag":true,"start_year":1975,"highlight_flag":false},{"id":"1181105","text":"Richard S. Field, <em>Paul Gauguin: The Paintings of the First Voyage to Tahiti</em> (New York: Garland Publishing, 1977), pp. 54, 57–74, 78, 93, 124, 245 (note 68), 254 (note 13), 256 (note 30), 258 (note 48), 273 (note 68), 295 (note 22), 301, 306 (no. 24), 315 (no. 17), 335 (as \"Ia Orana Maria ('I Hail Thee, Mary'),\" dated December 1891)","notes":[],"pub_id":"113269","seq_num":134,"scan_flag":true,"start_year":1977,"highlight_flag":false},{"id":"1187155","text":"Patrick O'Reilly, <em>Peintres de Tahiti</em> (Paris: Nouvelles Éditions Latines, 1978), p. 14 (as \"Je vous salue Marie\")","notes":[],"pub_id":"132470","seq_num":135,"scan_flag":false,"start_year":1978,"highlight_flag":false},{"id":"1217493","text":"Nicolas Wadley, <em>Gauguin: 116 oeuvres</em> (Paris: Éditions Hier et Demain, 1978), no. 45 (color ill.)","notes":[],"pub_id":"110267","seq_num":136,"scan_flag":false,"start_year":1978,"highlight_flag":false},{"id":"1219588","text":"Katharine Baetjer, <em>European Paintings in the Metropolitan Museum of Art by Artists Born in or before 1865: A Summary Catalogue</em> (New York: Metropolitan Museum of Art, 1980), p. 68 (ill. p. 639)","notes":[],"pub_id":"274445","seq_num":137,"scan_flag":false,"start_year":1980,"highlight_flag":false},{"id":"1219699","text":"Elda Fezzi, <em>Gauguin: Every Painting,</em> ed. David Piper, vol. 2, trans. Jane Carroll (New York: Rizzoli, 1980), no. 427, pp. 30, 32 (color ill. p. 31, detail; ill. p. 32, as \"Ia Orana Maria (Ave Maria)\")","notes":[],"pub_id":"274439","seq_num":138,"scan_flag":false,"start_year":1980,"highlight_flag":false},{"id":"1213704","text":"Jehanne Teilhet-Fisk, <em>Paradise Reviewed: An Interpretation of Gauguin's Polynesian Symbolism</em> (Ann Arbor: UMI Research Press, 1983), pp. 1, 48, 171","notes":[],"pub_id":"103207","seq_num":139,"scan_flag":true,"start_year":1983,"highlight_flag":false},{"id":"1213700","text":"Kirk Varnedoe, \"Gauguin,\" in <em>'Primitivism' in 20th Century Art: Affinity of the Tribal and the Modern,</em> exh. cat. (New York: Museum of Modern Art, 1984), pp. 189, 191 (color ill. p. 178; ill. p. 187, as \"We Hail Thee Mary\")","notes":[],"pub_id":"273747","seq_num":140,"scan_flag":true,"start_year":1984,"highlight_flag":false},{"id":"1186267","text":"Ziva Amishai-Maisels, <em>Gauguin's Religious Themes</em> (New York: Garland Publishing, 1985), pp. 1, 56, 71 (note 107), 190, 288–98, 304–5, 307, 316, 325, 327 (notes 9, 11, 14, 16), 328 (notes 27, 28), 329 (notes 31, 37), 334 (note 78), 358, 383, 386, 392 (note 47), 485 (ill. fig. 126)","notes":[],"pub_id":"223713","seq_num":142,"scan_flag":true,"start_year":1985,"highlight_flag":false},{"id":"1186594","text":"Philippe Verdier, \"Un manuscrit de Gauguin: L'esprit moderne et le catholicisme,\" <em>Wallraf-Richartz-Jahrbuch</em> 46–47 (1985–86), p. 287","notes":[],"pub_id":"272994","seq_num":143,"scan_flag":false,"start_year":1985,"highlight_flag":false},{"id":"1209343","text":"Charles S. Moffett, <em>Impressionist and Post-Impressionist Paintings in the Metropolitan Museum of Art</em> (New York: Metropolitan Museum of Art; New York: Harry N. Abrams, 1985), pp. 11, 204 (color ill. p. 204, detail; color ill. p. 205)","notes":[],"pub_id":"117401","seq_num":144,"scan_flag":false,"start_year":1985,"highlight_flag":false},{"id":"1213072","text":"Robert Goldwater, <em>Primitivism in Modern Art</em> (Cambridge: Belknap Press of Harvard University Press, 1986), p. 75 (ill. pl. 10, p. 76)","notes":[],"pub_id":"9198","seq_num":145,"scan_flag":false,"start_year":1986,"highlight_flag":false},{"id":"1218196","text":"Yann Le Pichon, <em>Sur les traces de Gauguin</em> (Paris: Éditions Robert Laffont, 1986), pp. 156, 261 (color ill. p. 157)","notes":[],"pub_id":"110274","seq_num":146,"scan_flag":true,"start_year":1986,"highlight_flag":false},{"id":"1187887","text":"Michel Hoog, <em>Gauguin: Vie et œuvre</em> (Paris: Nathan, 1987), pp. 163, 166, 198, 209 (color ill. no. 109, p. 159, as \"Ia Orana Maria (Je vous salue, Marie)\")","notes":[],"pub_id":"15953","seq_num":147,"scan_flag":true,"start_year":1987,"highlight_flag":false},{"id":"1188488","text":"Marla Prather and Charles F. Stuckey, eds., <em>Gauguin: A Retrospective</em> (New York: Hugh Lauter Levin Associates, 1987) (color ill. pl. 57, p. 185, as \"Ia Orana Maria (Hail, Mary)\")","notes":[],"pub_id":"231856","seq_num":148,"scan_flag":true,"start_year":1987,"highlight_flag":false},{"id":"1216784","text":"Maurice Malingue, <em>La Vie prodigieuse de Gauguin</em> (Paris: Éditions Buchet-Chastel, 1987), pp. 112, 176–77, 183, 195 (as \"Ia Orana Maria ('Je vous salue Marie')\")","notes":["\"[...] Le peintre sceptique, athée, exécute une toile, sans doute la plus émouvante de ses oeuvres. [...] Ce tableau c'est la Orana Maria (\"Je vous salue Marie\") [...]\" (pp. 176-177)\n\n\"[...] Si les toiles de Gauguin provoquèrent de l'intérêt ou de la curiosité parmi les peintres [...] et le marchand Manzi Ia Orana Maria (2000 F, dont une partie à crédit), l'exposition n'eut malgré tout pas le succès escompté. [...]\" (p. 195)"],"pub_id":"103188","seq_num":149,"scan_flag":true,"start_year":1987,"highlight_flag":false},{"id":"1219465","text":"<em>The Metropolitan Museum of Art: Modern Europe</em> (New York: Metropolitan Museum of Art, 1987), p. 78 (color ill. no. 54, p. 77)","notes":[],"pub_id":"274410","seq_num":150,"scan_flag":false,"start_year":1987,"highlight_flag":false},{"id":"1208391","text":"Belinda Thomson, <em>Gauguin</em> (London: Thames & Hudson Ltd, 1987), pp. 144, 146, 167, 182 (color ill. fig. 122, p. 141; ill. fig. 128, p. 145, as \"Ia Orana Maria (Je vous salue Maria)\")","notes":[],"pub_id":"272550","seq_num":168,"scan_flag":false,"start_year":1987,"highlight_flag":false},{"id":"1214230","text":"Isabelle Cahn, <em>Gauguin et le mythe du sauvage</em> (Paris: Arthaud; Paris: Flammarion, 1988), p. 62 (ill. p. 63, dated c. 1891–92)","notes":[],"pub_id":"273797","seq_num":151,"scan_flag":false,"start_year":1988,"highlight_flag":false},{"id":"1210643","text":"Françoise Cachin, <em>Gauguin</em> (Paris: Flammarion, 1988), pp. 155, 156, 160, 164, 169, 172 (ill. fig. 167, p. 161, as \"Ia orana Maria (Je vous salue, Marie)\")","notes":[],"pub_id":"223749","seq_num":152,"scan_flag":true,"start_year":1988,"highlight_flag":false},{"id":"1217825","text":"Assia Kantor-Goukovskaïa, Anna Barskaïa, and Marina Bessonova, <em>Paul Gauguin: Musée de l'Ermitage, Musée des Beaux-Arts Pouchkine,</em> trans. Marie-Thérèse Schmitt (Paris: Éditions Cercle d'Art, 1988), pp. 42, 144 (ill. p. 38, as \"Ia orana Maria (Je vous salue Marie)\")","notes":[],"pub_id":"6675","seq_num":153,"scan_flag":false,"start_year":1988,"highlight_flag":false},{"id":"1219292","text":"Francisca Vandepitte, \"Het exotisme bij Gauguin,\" <em>Gentsche bijdragen tot de kunstgeschiedenis</em> 27 (1988), p. 128","notes":[],"pub_id":"274374","seq_num":154,"scan_flag":false,"start_year":1988,"highlight_flag":false},{"id":"1222074","text":"Richard S. Field, \"Paul Gauguin: An Exhibition,\" <em>Print Collector's Newsletter</em> 19, no. 4 (September–October 1988), no. 135, p. 135 (dated 1891–92)","notes":[],"pub_id":"274839","seq_num":156,"scan_flag":false,"start_year":1988,"highlight_flag":false},{"id":"1216047","text":"Kirk Varnedoe, \"Paul Gauguin and Primitivism in Modern Art,\" in <em>Rencontres Gauguin à Tahiti: Actes du colloque 20 et 21 juin 1989</em> (Papeete: Aurea, 1989), p. 45 (color ill. fig. 1, p. 45)","notes":[],"pub_id":"273943","seq_num":157,"scan_flag":false,"start_year":1989,"highlight_flag":false},{"id":"1216076","text":"Ziva Amishai-Maisels, \"Gauguin: Visiteur ou résident?\" in <em>Rencontres Gauguin à Tahiti: Actes du colloque 20 et 21 juin 1989</em> (Papeete: Aurea, 1989), pp. 81, 85","notes":[],"pub_id":"273953","seq_num":158,"scan_flag":false,"start_year":1989,"highlight_flag":false},{"id":"1222699","text":"Pierre Daix, <em>Paul Gauguin</em> (Paris: Éditions Jean-Claude Lattès, 1989), pp. 234–35, 239, 253, 257 (as \"Ia orana Maria, 'Je vous salue Marie'\")","notes":[],"pub_id":"6771","seq_num":159,"scan_flag":false,"start_year":1989,"highlight_flag":false},{"id":"1187493","text":"Michel Hoog, \"Gauguin et les musées,\" in <em>Gauguin: Actes du colloque Gauguin; Musée d'Orsay, 11–13 janvier 1989</em> (Paris: La Documentation française, 1991), p. 152","notes":[],"pub_id":"273065","seq_num":161,"scan_flag":true,"start_year":1991,"highlight_flag":false},{"id":"1222123","text":"Bernard Denvir, ed., <em>Gauguin: Letters from Brittany and the South Seas; The Search for Paradise</em> (New York: Clarkson Potter, 1992), p. 66 (color ill. p. 67, as \"The Blessed Mary (Ia orana Maria),\" dated 1891–92)","notes":[],"pub_id":"274842","seq_num":162,"scan_flag":false,"start_year":1992,"highlight_flag":false},{"id":"1186148","text":"Karyn Elizabeth Esielonis, \"Gauguin's Tahiti: The Politics of Exoticism\" (PhD diss., Cambridge: Harvard University, 1993), pp. 38–39, 41, 52, 56–57, 60–63, 94–96, 98, 100, 103, 212–17, 219, 225 (ill. fig. 15, as \"Ia orana Maria (Oh Hail Mary)\")","notes":[],"pub_id":"11282","seq_num":163,"scan_flag":true,"start_year":1993,"highlight_flag":false},{"id":"1210982","text":"Carol Christensen, \"The Painting Materials and Technique of Paul Gauguin,\" <em>Studies in the History of Art</em> 41 (1993), p. 93 (as \"la orana Maria\")","notes":[],"pub_id":"273497","seq_num":164,"scan_flag":false,"start_year":1993,"highlight_flag":false},{"id":"1214213","text":"Charles Harrison, Francis Frascina, and Gill Perry, <em>Primitivism, Cubism, Abstraction: The Early Twentieth Century</em> (New Haven: Yale University Press, 1993), pp. 7, 30, 32 (color ill. pl. 4, p. 9, as \"Ia Orana Maria (Hail Mary),\" dated 1891–92)","notes":[],"pub_id":"273795","seq_num":165,"scan_flag":false,"start_year":1993,"highlight_flag":false},{"id":"1233229","text":"Belinda Thomson, ed., <em>Gauguin by Himself</em> (Boston: Little, Brown, 1993), pp. 171, 268 (color ill. pl. 166, p. 208, as \"Ia Orana Maria (Hail Mary)\")","notes":[],"pub_id":"223762","seq_num":166,"scan_flag":true,"start_year":1993,"highlight_flag":false},{"id":"1182123","text":"Katharine Baetjer, <em>European Paintings in the Metropolitan Museum of Art by Artists Born before 1865: A Summary Catalogue</em> (New York: Metropolitan Museum of Art, 1995), p. 491 (ill. p. 490, as \"Ia Orana Maria (Hail Mary)\")","notes":[],"pub_id":"10745","seq_num":167,"scan_flag":false,"start_year":1995,"highlight_flag":false},{"id":"1214072","text":"David Sweetman, <em>Paul Gauguin: A Complete Life</em> (London: Hodder and Stoughton, 1995), pp. 304–6, 309, 315, 318, 361–62, 392, 436 (as \"Ia Orana Maria (Hail Mary)\")","notes":[],"pub_id":"10389","seq_num":169,"scan_flag":true,"start_year":1995,"highlight_flag":false},{"id":"1207440","text":"Eckhard Hollmann, <em>Paul Gauguin: Images from the South Seas</em> (Munich: Prestel-Verlag, 1996), pp. 34, 52, 62–63 (color ill. p. 35; ill. p. 62, as \"Hail Mary (Ia Orana Maria)\")","notes":[],"pub_id":"223892","seq_num":170,"scan_flag":true,"start_year":1996,"highlight_flag":false},{"id":"1213989","text":"Denise Delouche, <em>Gauguin et la Bretagne</em> (Rennes: Éditions Apogée, 1996), pp. 86, 123","notes":[],"pub_id":"6204","seq_num":171,"scan_flag":false,"start_year":1996,"highlight_flag":false},{"id":"1208009","text":"Albert Kostenewitsch, \"Eva im tahitianischen Paradies,\" in <em>Paul Gauguin: Das verlorene Paradies,</em> ed. Georg-W. Költzsch, exh. cat. (Cologne: DuMont Buchverlag, 1998), pp. 83, 85 (note 26) (as \"Gegrüßet seist Du, Maria\")","notes":[],"pub_id":"273342","seq_num":172,"scan_flag":true,"start_year":1998,"highlight_flag":false},{"id":"1218662","text":"Naomi Margolis Maurer, <em>The Pursuit of Spiritual Wisdom: The Thought and Art of Vincent Van Gogh and Paul Gauguin</em> (Madison: Fairleigh Dickinson University Press; London: Associated University Presses in association with the Minneapolis Institute of Arts, 1998), pp. 145–46, 165– 166 (color ill. fig. 293, between pp. 190–93, as \"Ia Orana Maria (We greet you, Mary)\")","notes":[],"pub_id":"274230","seq_num":173,"scan_flag":false,"start_year":1998,"highlight_flag":false},{"id":"1220901","text":"Wladyslawa Jaworska, \"'Christ in the Garden of Olive-Trees' by Gauguin: The Sacred or the Profane?\" <em>Artibus et Historiae</em> 19, no. 37 (1998), p. 98 (color ill. no. 22, p. 91, as \"Ia Orana Maria - Ave Maria\")","notes":[],"pub_id":"53555","seq_num":174,"scan_flag":true,"start_year":1998,"highlight_flag":false},{"id":"1243397","text":"Philippe Dagen, <em>Le Peintre, le poète, le sauvage: Les voies du primitivisme dans l'art français</em> (Paris: Flammarion, 1998), p. 91","notes":[],"pub_id":"11822","seq_num":175,"scan_flag":false,"start_year":1998,"highlight_flag":false},{"id":"1220699","text":"Henri Dorra, \"Ein nur allzu menschliches Paradies: Gauguins Symbolismus in Tahiti,\" in <em>Paul Gauguin: Von der Bretagne nach Tahiti; Ein Aufbruch zur Moderne,</em> ed. Denise Delouche, exh. cat. (Tulln an der Donau: Millenniumsverlag, 2000), pp. 138–39, 145–46 (ill. p. 138, as \"Io orana Maria (Gegrußest seist Du, Maria)\")","notes":[],"pub_id":"274636","seq_num":176,"scan_flag":false,"start_year":2000,"highlight_flag":false},{"id":"1217254","text":"Susan Alyson Stein, \"From the Beginning: Collecting and Exhibiting Gauguin in New York,\" in <em>The Lure of the Exotic: Gauguin in New York Collections,</em> by Colta Ives and Susan Alyson Stein, exh. cat. (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2002), pp. 160, 165, 166, 168, 170 (ill. fig. 62, p. 160, installation view; ill. fig. 64, p. 167, installation view)","notes":["\"Fig. 62. Lewisohn apartement, 881 Fifth Avenue, New York, ca. 1939. Center to right: Ia Orana Maria [...]\"\n\"Fig. 64. Installation view, Loan Exhibition of Impressionist and Post-Impressionist Paintings, The Metropolitan Museum of Art, New York, 1921. Paintings by Gauguin are on the far wall, [...] bottom, fourth from left to right, [...] Ia Orana Maria [...]. Archives, The Metropolitan Museum of Art, New York\""],"pub_id":"272537","seq_num":177,"scan_flag":true,"start_year":2002,"highlight_flag":false},{"id":"1217386","text":"Charlotte Hale, \"Gauguin's Paintings in the Metropolitan Museum of Art: Recent Revelations Through Technical Examination,\" in <em>The Lure of the Exotic: Gauguin in New York Collections,</em> by Colta Ives and Susan Alyson Stein, exh. cat. (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2002), pp. 189, 193, 195 (as \"Ia Orana Maria (Hail Mary)\")","notes":[],"pub_id":"274096","seq_num":178,"scan_flag":true,"start_year":2002,"highlight_flag":false},{"id":"1240649","text":"Charles F. Stuckey, \"Gauguin: New York,\" <em>Burlington Magazine</em> 144, no. 1194 (September 2002), p. 581 (Collection: The Metropolitan Museum of Art, New York)","notes":[],"pub_id":"274830","seq_num":180,"scan_flag":false,"start_year":2002,"highlight_flag":false},{"id":"1186600","text":"Stéphane Guégan, <em>Gauguin: Le sauvage imaginaire</em> (Paris: Éditions du Chêne, 2003), pp. 154, 188 (color ill. p. 169, as \"Ia orana Maria (Je vous salue Marie),\" dated 1891–92)","notes":[],"pub_id":"15620","seq_num":181,"scan_flag":true,"start_year":2003,"highlight_flag":false},{"id":"1187237","text":"Paule Laudon, <em>Tahiti-Gauguin: Mythe et vérités</em> (Paris: Société nouvelle Adam Biro, 2003), pp. 60, 102, 107, 114 (color ill. p. 59, as \"Iaorana Maria,\" dated 1891–92)","notes":[],"pub_id":"141859","seq_num":182,"scan_flag":true,"start_year":2003,"highlight_flag":false},{"id":"1189257","text":"Jean-Yves Tréhin, <em>Gauguin: Tahiti et la photographie</em> (Punaauia: Musée de Tahiti et des îles, 2003), pp. 98, 177 (color ill. p. 99, as \"Ia orana Maria (Je vous salue Marie),\" dated 1891 or 1892)","notes":[],"pub_id":"14931","seq_num":183,"scan_flag":false,"start_year":2003,"highlight_flag":false},{"id":"1207942","text":"Françoise Heilbrun, \"La photographie 'servante des arts,'\" in <em>Gauguin Tahiti: L'Atelier des tropiques,</em> ed. Claire Frèches-Thory and George T. M. Shackelford, exh. cat. (Paris: Réunion des musées nationaux, 2003), p. 53","notes":[],"pub_id":"273338","seq_num":184,"scan_flag":true,"start_year":2003,"highlight_flag":false},{"id":"1207984","text":"Claire Frèches-Thory, \"Premier séjour à Tahiti, 1891–1893: La peinture,\" in <em>Gauguin Tahiti: L'Atelier des tropiques,</em> ed. Claire Frèches-Thory and George T. M. Shackelford, exh. cat. (Paris: Réunion des musées nationaux, 2003), pp. 69, 74–75 (as \"Ia orana Maria (Je vous salue Marie),\" dated December 1891)","notes":[],"pub_id":"273341","seq_num":185,"scan_flag":true,"start_year":2003,"highlight_flag":false},{"id":"1214393","text":"Michel Butor, \"Les trois questions de Gauguin,\" in <em>Paul Gauguin: Héritage et confrontations; Actes du colloque des 6, 7 et 8 mars 2003 à l'Université de la Polynésie française</em> (Papeete: Éditions le Motu, 2003), p. 26 (as \"Ia orana Maria (Je vous salue Marie)\")","notes":[],"pub_id":"273836","seq_num":186,"scan_flag":false,"start_year":2003,"highlight_flag":false},{"id":"1217146","text":"Renée Ventresque, \"La médiation de Gauguin dans les premiers poèmes de Saint-John Perse,\" in <em>Paul Gauguin: Héritage et confrontations; Actes du colloque des 6, 7 et 8 mars 2003 à l'Université de la Polynésie française</em> (Papeete: Éditions le Motu, 2003), p. 219 (color ill. p. 221)","notes":[],"pub_id":"274069","seq_num":187,"scan_flag":false,"start_year":2003,"highlight_flag":false},{"id":"1238149","text":"George T. M. Shackelford, \"D'où venons-nous? Que sommes-nous? Où allons-nous?\" in <em>Gauguin Tahiti: L'Atelier des tropiques,</em> ed. Claire Frèches-Thory and George T. M. Shackelford, exh. cat. (Paris: Réunion des musées nationaux, 2003), p. 244 (as \"Ia orana Maria (Je vous salue, Marie)\")","notes":[],"pub_id":"273355","seq_num":188,"scan_flag":true,"start_year":2003,"highlight_flag":false},{"id":"1243413","text":"Elizabeth C. Childs, \"L'Invitation au paradis: Gauguin face à la photographie,\" in <em>Paul Gauguin: Héritage et confrontations; Actes du colloque des 6, 7 et 8 mars 2003 à l'Université de la Polynésie française</em> (Papeete: Éditions le Motu, 2003), p. 129","notes":[],"pub_id":"273987","seq_num":189,"scan_flag":false,"start_year":2003,"highlight_flag":false},{"id":"1302479","text":"Elise Eckermann, <em>'En lutte contre une puissance formidable': Paul Gauguin im Spannungsfeld von Kunstkritik und Kunstmarkt</em> (Weimar: VDG, 2003), pp. 148, 153, 159, 160, 164 (ill. fig. 65, p. 321, as \"Ia orana Maria oder Je vous salue Marie\")","notes":[],"pub_id":"300467","seq_num":250,"scan_flag":false,"start_year":2003,"highlight_flag":false},{"id":"1215054","text":"Martine Regnault, <em>Paul Gauguin: La trace écrite</em> (Dijon: Editions Universitaires de Dijon, 2005), p. 111","notes":[],"pub_id":"14176","seq_num":191,"scan_flag":false,"start_year":2005,"highlight_flag":false},{"id":"1216569","text":"Riccardo Pineri, <em>L'Île: Matière de Polynésie</em> (Papeete: Le Motu, 2006), p. 81 (color ill. p. 80)","notes":[],"pub_id":"274015","seq_num":192,"scan_flag":false,"start_year":2006,"highlight_flag":false},{"id":"1238301","text":"Douglas W. Druick, \"Vollard and Gauguin: Fictions and Facts,\" in <em>Cézanne to Picasso: Ambroise Vollard, Patron of the Avant-Garde,</em> ed. Rebecca A. Rabinow, exh. cat. (New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2006), pp. 61, 77 (note 5) (as \"Ia Orana Maria (Hail Mary\")","notes":["\"[...] Durand-Ruel's enthusiasm was, however, tempered, although he gave Gauguin an exhibition [...] The show was not success, and only eleven pictures sold. [...]\" (p. 61)\n\nnote 5: \"[...] Gauguin did sell one of his most prized canvases, Ia Orana Maria (Hail Mary) [...]\""],"pub_id":"273606","seq_num":193,"scan_flag":true,"start_year":2006,"highlight_flag":false},{"id":"1236887","text":"June Hargrove, \"'Woman with a Fan': Paul Gauguin's Heavenly Vairaumati—A Parable of Immortality,\" <em>Art Bulletin</em> 88, no. 3 (September 2006), pp. 563, 566 (note 90) (as \"Ia Orana Maria (We Greet thee Mary)\")","notes":[],"pub_id":"274132","seq_num":194,"scan_flag":true,"start_year":2006,"highlight_flag":false},{"id":"1216492","text":"Gary Tinterow, Kathryn Calley Galitz, and Susan Alyson Stein, <em>Masterpieces of European Painting, 1800–1920, in the Metropolitan Museum of Art</em> (New Haven and London: Yale University Press; New York: Metropolitan Museum of Art, 2007), no. 153, p. 164 (color ill. p. 164, detail; color ill. p. 165, as \"Ia Orana Maria (Hail Mary)\")","notes":[],"pub_id":"15066","seq_num":195,"scan_flag":false,"start_year":2007,"highlight_flag":false},{"id":"1217293","text":"Henri Dorra, <em>The Symbolism of Paul Gauguin: Erotica, Exotica and the Great Dilemmas of Humanity</em> (Berkeley: University of California Press, 2007), pp. 156, 167, 173–75 (color ill. fig. 75, p. 168, as \"Ia Orana Maria (Hail Mary),\" dated 1891–92)","notes":[],"pub_id":"146397","seq_num":196,"scan_flag":true,"start_year":2007,"highlight_flag":false},{"id":"1214147","text":"Albert Boime, <em>Revelation of Modernism: Responses to Cultural Crises in Fin-de-Siècle Painting</em> (Columbia: University of Missouri Press, 2008), pp. 166–68 (color ill. pl. 7, p. xxiii, as \"Ia Orana Maria (We greet you, Mary)\")","notes":[],"pub_id":"16587","seq_num":198,"scan_flag":false,"start_year":2008,"highlight_flag":false},{"id":"1218829","text":"Othon Printz, <em>Gauguin et le protestantisme: Rencontre avec des hommes et … des femmes</em> (Colmar: Jérôme Do Bentzinger Éditeur, 2008), pp. 40, 42 (color ill. p. 41)","notes":[],"pub_id":"16248","seq_num":199,"scan_flag":false,"start_year":2008,"highlight_flag":false},{"id":"1218141","text":"Isabelle Cahn, \"The First Stay on Tahiti, June 1891–June 1893,\" in <em>Gauguin Polynesia,</em> ed. Suzanne Greub, exh. cat. (Munich: Hirmer Verlag, 2011), p. 165 (color ill. no. 141, p. 165, as \"Ia Orana Mary Hail Mary\")","notes":[],"pub_id":"274178","seq_num":200,"scan_flag":false,"start_year":2011,"highlight_flag":false},{"id":"1218213","text":"Bronwen Nicholson, \"Gauguin's Auckland Visit,\" in <em>Gauguin Polynesia,</em> ed. Suzanne Greub, exh. cat. (Munich: Hirmer Verlag, 2011), p. 256","notes":[],"pub_id":"274182","seq_num":201,"scan_flag":false,"start_year":2011,"highlight_flag":false},{"id":"1219002","text":"Linda Goddard, <em>Aesthetic Rivalries: Word and Image in France, 1880–1926</em> (Bern: Peter Lang AG, International Academic Publishers, 2012), p. 82 (color ill. fig. 15, as \"Ia Orana Maria (Hail Mary)\")","notes":[],"pub_id":"274306","seq_num":202,"scan_flag":false,"start_year":2012,"highlight_flag":false},{"id":"1211066","text":"Marianne Jakobi, <em>Gauguin-Signac: La genèse du titre contemporain</em> (Paris: CNRS Éditions, 2015), no. 11, pp. 109, 115–16, 139 (ill. no. 11, p. 139)","notes":[],"pub_id":"115631","seq_num":203,"scan_flag":false,"start_year":2015,"highlight_flag":false},{"id":"1217029","text":"Kathryn Calley Galitz, <em>The Metropolitan Museum of Art: Masterpiece Paintings</em> (New York: Metropolitan Museum of Art; New York: Skira Rizzoli Publications, 2016), p. 449 (color ill. p. 408; color ill. p. 449, as \"Ia orana Maria (Hail Mary)\")","notes":[],"pub_id":"274057","seq_num":204,"scan_flag":false,"start_year":2016,"highlight_flag":false},{"id":"1243738","text":"Dario Gamboni, \"Gauguin_Cats. 61–63 Drawings for the Noa Noa Suite, 1893/94: Variation and Explication,\" in <em>Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago,</em> ed. Gloria Groom and Genevieve Westerby (Chicago: Art Institute of Chicago, 2016) (color ill. fig. 7, as \"Ia orana Maria (Hail Mary),\" dated c. 1891–92)","notes":[],"pub_id":"292691","seq_num":205,"scan_flag":false,"start_year":2016,"highlight_flag":false},{"id":"1243749","text":"Mel Becker Solomon, \"Gauguin_Cat. 64: Two Tahitian Women in a Landscape: Commentary,\" in <em>Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago,</em> ed. Gloria Groom and Genevieve Westerby (Chicago: Art Institute of Chicago, 2016) (color ill. fig. 64.16, as \"Ia orana Maria (Hail Mary)\")","notes":[],"pub_id":"292692","seq_num":206,"scan_flag":false,"start_year":2016,"highlight_flag":false},{"id":"1243782","text":"Peter Zegers, \"Gauguin_Cat. 102 The Rape of Europa, from the Suite of Late Wood-Block Prints: Descriptive Analysis and Related Works,\" in <em>Gauguin Paintings, Sculpture, and Graphic Works at the Art Institute of Chicago,</em> ed. Gloria Groom and Genevieve Westerby (Chicago: Art Institute of Chicago, 2016) (color ill. fig. 102.12, as \"Ia orana Maria (Hail Mary)\")","notes":[],"pub_id":"292704","seq_num":207,"scan_flag":false,"start_year":2016,"highlight_flag":false},{"id":"1212405","text":"June Hargrove, <em>Gauguin</em> (Paris: Éditions Citadelles and Mazenod, 2017), pp. 233, 362 (color ill. no. 268, p. 232, as \"Ia orana Maria (Je vous salue Marie)\")","notes":[],"pub_id":"273592","seq_num":208,"scan_flag":false,"start_year":2017,"highlight_flag":false},{"id":"1214529","text":"Claire Bernardi, \"Iteration and Invention in Gauguin's Paintings,\" in <em>Gauguin: Artist as Alchemist,</em> ed. Claire Bernardi, Ophélie Ferlier-Bouat, and Gloria Groom, exh. cat. (Chicago: Art Institute of Chicago, 2017), p. 57 (as \"Ia Orana Maria (Hail Mary)\")","notes":[],"pub_id":"273842","seq_num":209,"scan_flag":false,"start_year":2017,"highlight_flag":false},{"id":"1238099","text":"Allison Perelman, \"'The Burning Yellow Atelier,'\" in <em>Gauguin: Artist as Alchemist,</em> ed. Claire Bernardi, Ophélie Ferlier-Bouat, and Gloria Groom, exh. cat. (Chicago: Art Institute of Chicago, 2017), pp. 65, 70 (notes 9, 12) (as \"Ia orana Maria (Hail Mary)\")","notes":["\"[...] Gauguin's exhibition at Durand-Ruel opened on November 9. [...] only eleven out of forty-one sold. [...]\" (p. 65)\n\nnote 12: \"[...] Only three of the sales have been identified [...] Ia orana Maria (Hail Mary) (1891; Metropolitan Museum of Art, New York) to Michel Manzi [...]\" "],"pub_id":"273844","seq_num":210,"scan_flag":false,"start_year":2017,"highlight_flag":false},{"id":"1221485","text":"Elizabeth C. Childs, \"Gauguin in Tahiti: Encounters and Inventions in the 1890s,\" in <em>Gauguin: A Spiritual Journey,</em> ed. Christina Hellmich and Line Clausen Pedersen, exh. cat. (Munich: DelMonico Books-Prestel, 2018), p. 148 (color ill. fig. 40, p. 147, as \"Hail Mary (Ia Orana Maria)\")","notes":[],"pub_id":"274778","seq_num":211,"scan_flag":false,"start_year":2018,"highlight_flag":false},{"id":"1241737","text":"Norma Broude, ed., <em>Gauguin's Challenge: New Perspectives After Postmodernism</em> (New York: Bloomsbury Visual Arts, 2018), p. 205 (as \"Ia Orana Maria (We Greet the Mary)\")","notes":[],"pub_id":"273363","seq_num":212,"scan_flag":false,"start_year":2018,"highlight_flag":false},{"id":"1286347","text":"Christian Jamet, <em>Gauguin: Les Chemins de la spiritualité</em> (Paris: Cohen & Cohen, 2020), pp. 34, 191, 195 (color ill. no. 16, p. 32, detail; color ill. no. 130, p. 193, as \"Ia Orana Maria (Je vous salue, Marie)\")","notes":[],"pub_id":"296179","seq_num":248,"scan_flag":false,"start_year":2020,"highlight_flag":false},{"id":"1309379","text":"Clarisse Bailleul, \"Les peintres de la Bretagne au défi de l'écriture (1870–1939): Panorama des pratiques littéraires; Enjeux, apports, intérêts artistiques & culturels\" (PhD diss., Rennes: Université Rennes, 2021), p. 315 (color ill. p. 315, as \"Ia orana Maria (Je vous salue Marie)\")","notes":[],"pub_id":"301347","seq_num":252,"scan_flag":false,"start_year":2021,"highlight_flag":false}],"credit_line_url":"https://www.metmuseum.org/art/collection/search/438821?searchField=All&amp;sortBy=Relevance&amp;ft=g","last_published_date":"2024-07-01T13:57:42.217Z"}