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signed Maria Oakey Dewing and dated 1901, u.r.; also titled, signed and dated Carnations/Painted by Maria Oakey Dewing/1901 on the reverse prior to lining oil on canvas Dr. Susan Hobbs writes, "Known for the 'haunting and irresistible beauty' of her flower paintings, as The New York Times described them in 1914, Maria Oakey Dewing rendered this work called Carnations as a vivid study in complementary hues of reds and blue green.(1) Crimson carnations stand in stunning contrast to the vibrant turquoise of an exotic patterned fabric. The ornate richness of this floral backdrop forms a fascinating counterpoint to the spare bouquet in a Japanese vase. "The finesse with which Maria Oakey Dewing defined the play of light over form and texture suggests her deep veneration for the works of Vermeer. She admired the way that the Dutch artist used atmosphere to bathe objects so that it 'reveals and obscures.'(2) Similarly, in the shadowed folds she depicted in this painting, Maria Oakey Dewing allowed light to show where the pattern is lost and then found again, lending depth and visual interest to the background behind the still life. Even the vase itself is softly defined, its edges melting into the surrounding atmosphere. This complexity extends to the rich reflections of the mahogany table top as well. But, the primary focus is upon the thinly and delicately painted carnations rendered in Oakey Dewing's unmistakable fashion, with just a touch of white impasto as highlights to bring them forward to the viewer. "The artist showcased this work as Carnations in a Satsuma Vase at her 1907 one woman exhibition at The Pennsylvania Academy of the Fine Arts. In a written description in her family papers, she called the picture, 'my finest achievement in painting.' It was in fact, one of two very similar canvases--the other owned by famous artist William M. Chase--who liked to refer to her 'inimitable flowers.' In her own description of the work, she continued, '[critic Royal] Cort