Max Weber

T.B. Walker Foundation and Gilbert M. Walker Fund, Minneapolis

Acquired as a gift from the above in 1946 by the present owner

Pittsburgh, Carnegie Institute, Painting in the United States, 1945, no. 45, n.p., pl. 18, illustrated

New York, The Whitney Museum of American Art and Minneapolis, Walker Art Center, Max Weber, 1949, no. 67, p. 41, illustrated; p. 62

San Francisco Museum of Art, Man, Glory, Jest, and Riddle: A Survey of the Human Form Through the Ages, 1964-65, no. 288, n.p.

Athens, University of Georgia, Georgia Museum of Art; Pennsylvania, Art Club of Erie; Binghamton, New York, Roberson Center for the Arts and Science; Syracuse, New York, Everson Museum of Art; Connecticut, Kent Boys’ School; Museum of Fine Arts, St. Petersburg, Florida; Miami, Florida, Bacardi Imports; South Carolina, Greenville County Museum of Art; Garden City, New York, Nassau Community College, American Painting: The 1940’s, 1967-68, no. 60, p. 29

Oklahoma City, Oklahoma Art Center and Evanston, Illinois, Terra Museum of American Art, American Masters of the Twentieth Century, 1982, no. 55, p. 96, illustrated; p. 104

R. Scott Harnsberger, Four Artists of the Stieglitz Circle: A Sourcebook on Arthur Dove, Marsden Hartley, John Marin, and Max Weber, 2002, p. 276

We wish to thank scholar Dr. Percy North for providing the following thoughts:

Throughout his long and successful career, Max Weber was inspired by images of women as was his teacher Henri Matisse. During the 1940s, his paintings of women, clothed and unclothed in a variety of settings and situations, were especially prolific. Woman Carrying Picture is an excellent example of Weber's then-current Expressionist style that prefigured the rise of Abstract Expressionism by artists such as Weber's student Mark Rothko. As in this painting, Weber frequently juxtaposed two figures to amplify a contrast of types, emotions or roles. The extensive exhibition record of this attests to its importance in his oeuvre.