Still life featuring a Mono figure from Cochiti Pueblo and a large pot on an upturned table. A green apple and textile on the right side suggest the influence of Cézanne. The figure referred to in the painting’s title is not Mexican, but rather a Cochiti Mono, a blending of Native American and Spanish cultures that often poked fun at tourists and were sold by traders by the barrel-full.
Herbert Spinden, a curator at the American Museum of Natural History, collected several Cochiti pottery figures for the museum in 1910, including this figure, which resembles the one Weber included in his painting.
Estate of the Artist;
[Gerald Peters Gallery, New York, NY];
New York. Murray Hill Galleries. Exhibition of Paintings and Drawings by Max Weber. February 12-24, 1912, no. 26.
New York. The Print Gallery (under the direction of The Ehrich Galleries). Paintings and Drawings by Max Weber. February 1-13, 1915, cat. no. 8 as Aztec Statuette.
New York. Bernard Danenberg Galleries. Max Weber, The Years 1906-1916. May 12-30, 1970, p. 36, cat. no. 26, ill. frontispiece, installation photo of 1912 show.
Roswell, NM. Roswell Museum and Art Center. Max Weber: The Years 1906-1916 (January 24-February 24, 1971); Oshkosh, WI. The Paine Art Center and Arboretum (March 11-April 25, 1971); Davenport, IA. Davenport Municipal Art Gallery; Lincoln, MA. De Cordova Museum; Fort Lauderdale, FL. Fort Lauderdale Museum of the Arts; Austin, TX. University Art Museum, The University of Texas (February 10-March 12, 1972); Albuquerque, NM. The University of New Mexico, Albuquerque; Fort Worth, TX. Amon Carter Museum of Western Art (March 30-May 14, 1972); Storrs, CT. The University of Connecticut Museum of Art, p. 15, cat. no. 21, ill. frontispiece, installation photo of 1912 show.
Elmira, New York. Arnot Art Museum. Max Weber: The Years 1906-1916 (October 4-19, 1972); Wilmington, Delaware. Delaware Art Museum (October 4-19, 1972); p. 15, cat. no. 21, ill. frontispiece, installation photo of 1912 show.
Atlanta. The High Museum. Max Weber: The Cubist Decade 1910-1920 (December 10, 1991-February 9, 1992); Houston. Museum of Fine Arts (March 8-May 3, 1992); Washington D.C. The Corcoran Gallery of Art (May 31-August 9, 1992); Buffalo. Albright-Knox Art Gallery (September 12-October 25, 1992); Brooklyn. The Brooklyn Museum (November 13, 1992-January 10, 1993); Los Angeles. Los Angeles County Museum of Art (February 18-April 25, 1993), p. 99, cat. no. 4.
New York. Jewish Museum. Max Weber: An American Modern (October 5, 1982-January 16, 1983); West Palm Beach, FL. The Norton Gallery and School of Art (February 18-April 10, 1983); San Antonio, TX. The McNay Art Institute (May 22-July 31, 1983); Omaha, Nebraska. Joslyn Art Museum (August 27-November 5), 1983, p. 80, cat. no. 89, not ill.
Tulsa. Philbrook Museum of Art. From New York to New Mexico: Masterworks of American Modernism from the Vilcek Foundation Collection (February 8-May 3, 2015); Phoenix. Phoenix Art Museum (June 5-September 6, 2015); Santa Fe. Georgia O’Keeffe Museum (September 25, 2015-January 10, 2016).
Corpus Christi. The Art Museum of South Texas. Masterpieces of American Modernism from the Vilcek Collection of American Art. September 13, 2018-January 6, 2019.
Undated Inventory of Weber Estate. Downtown Gallery Records, Artist Files, A – Z: Weber, Max, undated, 1928-1968. Box 27, Reel 5556, Frame 268. Archives of American Art, Smithsonian Institution.
Werner, Alfred. Max Weber. New York: Harry Abrams, 1975, n.p., pl. 38 and, p. 195, fig. 139, installation photo of 1912 show.
Haskell, Barbara. Marsden Hartley. New York: Whitney Museum of American Art, 1980, ill. fig. 22 p. 27, 80.
Weber, Bruce. The Heart of the Matter: The Still Lives of Marsden Hartley. New York: Berry-Hill Gallery, 2003, p. 23, ill. p. 22, fig. 14.
Agee, William C. and Lewis Kachur. Masterpieces of American Modernism: From the Vilcek Collection. London: Merrell, 2013, pp. 104-105, 234, 235, 269, ill. p. 105.
O’Hern, John. “Modern Manor,” American Fine Art Magazine, September/October 2013, ill. p. 62.
Mikhail G. Shapiro receives the Vilcek Prize for Creative Promise in Biomedical Science for developing tools based on sound waves and magnetic fields, allowing for an unprecedented range of high-resolution, noninvasive imaging and control of cells in living organisms.
Alexander Rudensky receives the Vilcek Prize in Biomedical Science for fundamental molecular insights on the workings of a type of immune cell with a breathtaking array of functions—in autoimmune disease, inflammatory disorders, and cancer.
Polina Anikeeva receives the Vilcek Prize for Creative Promise in Biomedical Science for developing novel engineering solutions that have advanced the field of neural engineering and enabled fine-grained analysis of brain function and animal behavior.
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