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Collections

John Hubbard Rich
Mme. Yup SeeExhibited 1919

On view:
Geffen Galleries
Oil painting portrait of a seated woman in a richly patterned blue, brown, and gold robe, holding a folded fan, against a mosaic-textured background

John Hubbard Rich, Mme. Yup See, Exhibited 1919, Los Angeles County Museum of Art, Gift of Mrs. Ruth Rich and the Kenneth C. Rich, Sr. Family, photo © Museum Associates/LACMA

Artist or Maker
John Hubbard Rich
United States, Massachusetts, Boston, 1876-1954
Title
Mme. Yup See
Place Made
United States
Date Made
Exhibited 1919
Medium
Oil on canvas
Dimensions
36 x 28 in. (91.44 x 71.12 cm)
Credit Line
Gift of Mrs. Ruth Rich and the Kenneth C. Rich, Sr. Family
Accession Number
AC1996.132.1
Classification
Paintings
Collecting Area
American Art
Curatorial Notes

One of the leading progressives in post-World War I Los Angeles, John Hubbard Rich settled in Southern California in 1914. A student of the prominent Boston-based painter Edmund Tarbell, Rich's work soon evolved beyond his training. Although the figure in Mme. Yup See is fully realized, Rich’s rapid, Impressionistic paint handling dominates the picture. The background flickers with horizontal streaks of pink, ultramarine blue, and yellow, sparkling hues that echo the deeper colors of the sitter's attire.

The See family has a unique history in the Los Angeles area. Fong See, the patriarch, emigrated from China to California, settling in Los Angeles, where he emerged as one of the most prominent figures in the city's Chinatown. His family owned and operated popular antique stores, attracting prominent clients including the architects Charles and Henry Greene, the art dealer Grace Nicholson, and eventually the young motion picture companies. Yup See’s place within the family has not been determined; however, it seems that Rich intended his portrait as a tribute to the Chinese American community. He placed this striking woman among objects of the kind the Sees would have sold, and she wears a Qing Dynasty silk robe with an embroidered design based on the nine-dragon motif that was the prerogative of the Chinese royal family and court. The simple frame, with its decoration limited to the corners, was also designed and carved by the artist.

Selected Bibliography
  • Vure, Sarah. Circles of Influence: Impressionism to Modernism in Southern California Art, 1910-1930. Newport Beach, CA. 2000.
  • Barron, Stephanie, S. Bernstein and I. S. Fort, with essays by Stephanie Barron, Sherri Bernstein, M. Dear, Howard N. Fox and Richard Rodriguez. Made in California: Art, Image, and Identity, 1900-2000. Los Angeles: Los Angeles County Museum of Art and Berkeley: University of California Press, Berkeley, 2000.

  • Blake, Janet, and Deborah Epstein Solon. Art Colony: the Laguna Beach Art Association, 1918-1935. Laguna Beach: Laguna Art Museum, 2018.