This can be presumed to have been the painting Tiger Lilies, included in the exhibition at the American Art Galleries in May–September 1893 of the work of Twachtman, Julian Alden Weir, Claude Monet, and Paul-Albert Besnard. In the show, Twachtman also showed a pastel of tiger lilies, probably Tiger Lilies (P.909). His focus on this subject was due to the flower’s prevalence in his Greenwich garden, where the perennial blossoms grew in clusters and served as borders and accents. Twachtman portrayed the same flower as orange dots in The Cabbage Patch (OP.929) and in a close-up perspective in Tiger Lilies (OP.929).[1] Here he conveyed the nature of the flowers with a brush handling consistent with their vivacity and movement. Through his worm’s-eye vantage point, he monumentalized the flamelike flowers that blaze in their verdant setting and give an orange tint to a patch of sky.
In 1913 Twachtman's widow lent the painting, which had remained in his estate, to the 1913 shows at the New York School of Applied Design for Women and the Buffalo Fine Arts Academy. In a review of the New York show, a critic for the New York Tribune could have had this painting in mind in the observation: “There is an exquisite sentiment pervading [Twachtman’s] ‘fugitive notes,’ the sentiment of lovely green things, of flowers and of sweet light and air.”[2]
[1] The flower depicted in both paintings may be a Turk's-cap lily, a native of New England, rather than the more exotic Tiger Lily, an Asian import.