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A nude woman reclines on the floor of an ornate room, while servants attend her

In a lavish room with ornate tapestries, a young woman with fair skin and long light brown hair lies against cushions on the floor, with only a silk sheet wrapped around her legs. A hookah and a fan at her side, with her arms crossed behind her head, she looks on as a woman at left sits playing a lute like instrument. She wears an ornate headdress, gold jewelry, a floral skirt and a low cut green dress which reveals her right breast. Behind a gold railing, in floral robes and a white headdress, a dark skinned figure stands waiting at right, looking away.

Gallery Text

The central figure of the odalisque (a concubine in a harem) represents Ingres’s reinterpretation of the Western classical tradition of the female nude in the modern context of the Middle Eastern “other.” Though Ingres had never traveled outside Europe, he became fascinated by writings about Turkish society, mixing details from travel writing with his own fantasies. Period critics admired the way Ingres depicted the skin of the three different figures, praising how “the variety and nature of the races has been understood and expressed by the artist.” One commentator sorted the figures by skin type, contrasting the “white favorite” prone at the center of the painting, the “young Abyssinian slave . . . tawny like bronze” playing music at her side, and the “black eunuch” in the background. With her languid, available pose and state of undress, the white odalisque is offered as the sexual prize for the presumed male proprietor of this lavish interior—and by proxy, the viewer.

Identification and Creation

Object Number
1943.251
People
Jean-Auguste-Dominique Ingres, French (Montauban 1780 - 1867 Paris)
Title
Odalisque, Enslaved Woman, and Eunuch
Other Titles
Former Title: Odalisque, Slave, and Eunuch
Former Title: Odalisque with a Slave
Classification
Paintings
Work Type
painting
Date
1839-1840
Culture
French
Persistent Link
https://hvrd.art/o/299806

Location

Location
Level 2, Room 2120, European and American Art, 17th–19th century, The Lure of the East
View this object's location on our interactive map

Physical Descriptions

Medium
Oil on canvas
Dimensions
72.1 x 100.3 cm (28 3/8 x 39 1/2 in.)
frame: 94.6 x 122.6 x 7.6 cm (37 1/4 x 48 1/4 x 3 in.)
Inscriptions and Marks
  • Signed: l.l.: J. Ingres / Rom. 1839

Provenance

Recorded Ownership History
Jean-Auguste-Dominique Ingres, sold to Charles Marcotte d'Argenteuil, 1840, by descent; to Louis-Marie-Joseph Marcotte, his son, offered for sale [through Ingres sale, Hôtel Druot, Paris, April 27, 1867, lot 17]; bought in by Marcotte, sold; to Louis Aguillon, the brother-in-law of Louis-Marie-Joseph Marcotte, by descent; to Louis Marcotte de Quivières, sold [through de Quivières sale, Hôtel Drouot, Paris, 1875, lot 11]; to Guilhermony [1]. Gustave Pereire, Paris, 1911, by descent; to his wife, Mme. Henriette Pereire. Carroll S. Tyson, Philadelphia. [Wildenstein & Co., New York], sold; to Grenville Lindall Winthrop, 1935, bequest; to Fogg Art Museum, 1943

Notes
[1] The spelling of Guilhermony varies; also found as Guilhermy

Acquisition and Rights

Credit Line
Harvard Art Museums/Fogg Museum, Bequest of Grenville L. Winthrop
Accession Year
1943
Object Number
1943.251
Division
European and American Art
Contact
am_europeanamerican@harvard.edu
Permissions

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Publication History

  • "Manet: Bringing Art Back into Life", The Daily Telegraph Magazine (London, England), ill. p. 44
  • Jules Varnier, "De la nouvelle odalisque envoyée de Rome par M. Ingres", L'Artiste (1840), vol. VI, pp. 343-345
  • Ernest Breton, "M. Ingres.-- L'Odalisque. La Chapelle Sixtine", Bulletin des salons (1840), pp. 67-68, pp. 67-68
  • [Unidentified article], Nouvelles à la main (December 20 1840), p. 104
  • [Unidentified article], Le Moniteur Universel (November 18, 1840), [unpag.]
  • Jules Varnier, "M. Ingres", L'Artiste (1841), vol. VIII, p. 508
  • "Salon de 1841. M. Ingres", Le Charivari (March 14 1841)
  • Théophile Thoré, "Léopold Robert II", Les Beaux-Arts: Illustration des arts et de la littérature (1843), I, no. 18, p. 284, p. 284
  • Damay, "Une visite à l'atelier d'Ingres", Mémoires de l'Académie des Sciences, Agriculture, Commerce, Belles-Lettres... (1843), 5, pp. 449-454, pp. 449-454
  • Théophile Thoré, "Galeries particulières: Collection de M. Marcotte, d'Argenteuil", Les Beaux-Arts: Illustration des arts et de la littèrature (1844), 2, no. 48, p. 298, p. 298
  • [Eugéne-Emmanuel Pineu-Duval] Amaury-Duval, "De M. Ingres à propos de l'exposition Bonne Nouvelle", La Revue Nouvelle (February 1, 1846), vol. VII, pp. 88-89
  • Théophile Thoré, "Etudes sur la Peinture Française depuis la fin de 18e siècle à propos de l'exposition de la société des peintures", Le Constitutionnel (March 10, 1846), p. 9
  • Charles Lenormant, "Exposition au profit des artistes malheureux", Le Correspondent (January 1846-March 1846), 13, p. 673, p. 673
  • C.A.D., "Exposition dans les galeries du boulevard Bonne-Nouvelle, no. 22, en faveur des artistes malheureux", La France (February 11, 1846)
  • Albert de La Fizeliére, "Exposition de l'Association des Artistes", Journal du Commerce (February 1 1846)
  • "Exposition des Galeries Bonne-Nouvelles. M. Ingres", Moniteur des Arts (March 8 1846), no. 6, p. 42, p. 42
  • "Exposition des ouvrages de peinture dans la galerie Beaux-Arts Boulevard Bonne-Nouvelle, 22", L'Illustration (1846), 6, p. 96, p. 96
  • Etienne-Jean Delécluze, "Exposition des ouvrages de peinture dans la galerie des Beaux-Arts boulevard Bonne Nouvelle, 22", Journal des Débats (January 28, 1846)
  • Charles Baudelaire, "Le musèe classique du Bazar Bonne-Nouvelle", Le Corsaire-Satan (January 21 1846)
  • Frederic de Mercey Lagenevais, "Peintres et sculpteurs modernes: M. Ingres", Revue des Deux Mondes (1846), vol. XIV, p. 526
  • Paul Mantz, "Une exposition hors du Louvre: M. Ingres et son ècole", L'Artiste (January 25, 1846), series 4, 5, pp. 198-201, p. 200
  • [Unidentified article], Journal des Artistes (February 15, 1846), p. 50
  • Explication des Ouvrages de Peinture exposés dans la Galerie des Beaux-Arts Boulevard Bonne-Nouvelle, 22 au Profit de la Caisse de Sécours et Pensions de la Société des Artistes, exh. cat., Galerie des Beaux-Arts Boulevard Bonne-Nouvelles (Paris, France, 1846), no. 46
  • Charles Baudelaire, Salon de 1846, M. Lévy Frères (Paris, France, 1846)
  • Albert Magimel, Oeuvres de J. A. Ingres, gravées au trait sur acier par A. Réveil, 1800-1851, Ambroise Firmin Didot (Paris, France, 1851), no. 64, repr. as line drawing
  • Louis de Cormenin, "Oeuvres de M. Ingres", La Revue de Paris (February 1852), p. 97, p. 97
  • Pierre Petroz, "Exposition universelle des beaux-arts (II)", La Presse (May 30, 1855)
  • Charles Perrier, "Exposition Universelle des Beaux-arts. III: La Peinture Française-- M. Ingres", L'Artiste (May 1855), vol. XV, pp. 57-58
  • Paul ("Bibliophile Jacob") Lacroix, "M. Ingres à l'Exposition Universelle", Revue Universelle des Arts (October 1855 - March 1856), vol. II, p. 206
  • Paul Mantz, "Salon de 1855", Revue française (1855), 2, p. 222, p. 222
  • Exposition Universelle de Paris en 1855: Explication des ouvrages de peinture, sculpture, gravure, lithographie et architecture des artistes vivants etrangers et francais, exh. cat., Vinchon (Paris, France, 1855), no. 3351
  • Eugène de Mirecourt, Ingres, Gustave Havard Editeur (Paris, France, 1855), p. 82
  • Maxime Du Camp, Le Beaux-arts à l'Exposition Universelle de 1855... (Paris, France, 1855), pp. 75-77
  • Arnould de Vienne, "Galerie de M. Marcotte", L'Artiste (August 24, 1856), ser. 6, 2, p. 102, p. 102
  • [Eugéne-Emmanuel Pineu-Duval] Amaury-Duval, "M. Ingres, II", L'Artiste (1856), vol. VI, no. 1, pp. 175-177, p. 176
  • Théophile Silvestre, Histoire des artistes vivants français et étrangers, études d'après nature (Paris, 1856), pp. 22-23, 37, 39
  • Visites et études de S.A.I. le Prince Napoléon au Palais des Beaux-Arts ou description complete de cette exposition (Paris, France, 1856), pp. 113-114, under no. 1; p. 156
  • Edmond Saglio, "Un Nouveau Tableau de M. Ingres, liste complète de ses oeuvres", La Correspondence Litteraire (February 5, 1857), p. 78
  • Theophile Gautier, Les Beaux-Arts en Europe, Michel Levy freres (Paris, France, 1857), pp. 157-160
  • Henri, Vicomte Delaborde, Lettres et Pensées d'Hippolyte Flandrin (Paris, France, 1865), p. 337, under no. 40
  • "Mouvement des Arts et de la Curiosité. Tableaux et Dessins d'Ingres", La Chronique des Arts et de la Curiosité (May 5 and 12, 1867), vol. V, p. 138
  • Emile Bellier de la Chavignerie, "Notes sur l'oeuvre de M. Ingres", La Chronique des Arts et de la Curiosité (1867), vol. V, p. 59
  • Catalogue des tableaux, études peintes, dessins et croquis de J.A.D. Ingres exposé dans les galeries de l'Ecole impériale des Beaux-Arts, exh. cat., Ad. Laine et J. Havard (Paris, France, 1867), no. 423
  • Charles-Ernest Beulé, Eloge de M. Ingres... prononcé dans la séance publique de l'Académie des Beaux-Arts, le 14 December 1867 (Paris, France, 1867), pp. 22, 23
  • Olivier Merson and Emile Bellier de la Chavignerie, Ingres, sa Vie et ses Oeuvres, J. Hetzel (Paris, France, 1867), pp. 22, 45, 114
  • Delphis de la Cour, "Etude sur Ingres et les peintres de son temps", Annales de la Société d'Agriculture, Sciences, Arts et Belles-lettres ... (October 1868 - November 1868), XLVII, pp. 321-355, pp. 327, 336
  • Théophile Thoré, Salons de T. Thoré, Librairie internationale (Paris, France, 1868), pp. 246, 247, 250-251
  • Charles Blanc, Ingres, sa vie et ses ouvrages, Vve. J. Renouard (Paris, France, 1870), p. 106-107, 119, 233
  • Henri, Vicomte Delaborde, Ingres, sa vie, ses travaux, sa doctrine, d'apres les notices manuscrites et les lettres du maitre, H. Plon (Paris, France, 1870), pp. 99-100; 237-239 under no. 78 and 79; 255 under no. 139; 284 under no. 228
  • Eugene Montrosier, Peintres modernes: Ingres, H. Flandrin, Robert Fleury, Ludovic Baschet (Paris, France, 1882), p. 16
  • Victor Fournel, Les Artistes Français contemporains, A. Mame et fils (Tours, France, 1884), p. 55
  • Henry Lapauze, Les dessins de J.-A.-D. Ingres du Musée de Montauban, J. E. Bulloz (Paris, France, 1901), pp. 59, 121, 122, 235, 249
  • Jules Momméja, Ingres, H. Laurens (Paris, France, 1904), pp. 94-96
  • Henry Lapauze, "Le 'Bain Turc' d'Ingres", Revue de l'art ancien et moderne (1905), vol. XVIII, p. 386
  • Jules Momméja, Collection Ingres au Musée de Montauban, Inventaire General des richeses d'art de la France. Province, Monuments civils (1905), p. 107, above nos. 1253-1261
  • Jerome Doucet, Les Peintres Français (Paris, France, 1905), p. 128
  • Jules Momméja, "Le 'Bain Turc' d'Ingres", Gazette des Beaux-Arts (1906), vol. XXXVI, p. 185-187
  • Octave Uzanne, "The Paintings of Jean Auguste Dominique Ingres", Magazine of Fine Arts I (1906), p. 275, repr. p. 274
  • Téodor de Wyzewa, L'Oeuvre Peint de Jean-Dominique Ingres, Frédéric Gittler (Paris, France, 1907), pl. XXIX, p. iv
  • Alexander Joseph Finberg, Ingres (London, England, 1908), pp. 66-67
  • Henry Lapauze, "L'Académie de France à Rome", La Nouvelle Revue (1909), vol. VIII, pp. 364, 365, 373
  • Augustine Boyer d'Agen (Jean-Auguste Boye), Ingres d'apres une correspondence inédit, H. Daragon (Paris, France, 1909), pp. 21, n. 298, 350
  • Georges LeComte, "Ingres, son oeuvre, son influence", Le Correspondent (1911), vols. II and III, p. 350
  • Albert Dreyfus, "Jean-Auguste-Dominique Ingres", Die Kunst (December 1911), p. 136
  • Robert de la Sizeranne, "L'Oeil et la main de M. Ingres a la Galerie Georges Petit", Revue des Deux Mondes (1911), vol. III, pp. 416-435, pp. 416-417
  • Henry Lapauze, Ingres, sa vie & son oeuvre, G. Petit (Paris, France, 1911), pp. 335-337, 344, 350-352
  • Gustave Pauli, "David im Petit Palais", Kunst und Künstler (1913), vol. XI, pp. 549-550, repr.
  • Henry Lapauze, "Lettres inedit a M. Marcotte", La Correspondant (1913), vol. CCLII, pp. 90, 92-93, 94, 97, 99, 102-105
  • David et ses élèves, exh. cat., Petit Palais, Paris (Paris, France, 1913), no. 187
  • Léon Rosenthal, De Romanticism au Realisme (Paris, France, 1914), p. 180
  • Arsène Alexandre, "Comprendre Ingres, c'est comprendre la Grece et la France", La Renaissance (1921), vol. IV, pp. 195-196
  • [Eugéne-Emmanuel Pineu-Duval] Amaury-Duval, "M. Ingres", La Renaissance de l'art Français (May 1921), vol. IV, no. 5, p. 247, n. 1; repr. p. 248
  • Lili Frölich-Bum, Ingres: Sein Leben und sein Stil (Vienna and Leipzig, 1924), pp. 25, 62, plate 49
  • Lili Frölich-Bum, Ingres, His Life and Art, William Heinemann, Ltd. (London, England, 1926), p. 28, pl 49
  • Louis Hourticq, Ingres: l'oeuvre du maitre, Hachette (Paris, France, 1928), p. vii, repr. p. 81
  • Exposition du centenaire de la conquête de l'Algérie, 1830-1930, exh. cat., Petit Palais, Paris (Paris, France, 1930), no. 285
  • Raymond Bouyer, "Les Expositions de mois", Revue de l'Art (1931), vol. LX, p. 265
  • Eric G. Underwood, A Short History of French Painting (London, England, 1931), pp. 184-185, repr. facing p. 177
  • Oeuvres importantes de grand maîtres du XIXe siècle, exh. cat., Galerie Paul Rosenberg (Paris, France, 1931), no. 48
  • Jean Cassou, "Ingres et ses contradictions", Gazette des Beaux-Arts (1934), vol. XI, p. 158, repr. p. 163
  • Jean Cassou, "Ingres, Inventeur des femmes", La Renaissance (1935), vol. XVIII, pp. 3, 5
  • Jean Cassou, "Ingres", L'Art et les Artistes (1936), vol. XXXI, pp. 169-170
  • Walter Pach, Ingres, Harper and Brothers Publishers (New York, NY and London, England, 1939), pp. 71, 95, 99-102, repr. opposite p. 179
  • Ulrich Christoffel, Klassizismus in Frankreich um 1800 (Munich, Germany, 1940), repr. p. 117
  • Edward King, "Ingres as Classicist", The Journal of the Walters Art Gallery (1942), vol. V, pp. 78-81
  • [Reproduction only], "French Painting", Bulletin of the Fogg Art Museum, Fogg Art Museum (Cambridge, MA, November 1943)., repr. in b/w, p. 58
  • Chinese Sculpture, Bronzes, Jades, Paintings and Drawings, Egyptian and Persian sculpture, Pre-Columbian art; selected from the collection of Grenville Lindall Winthrop, exh. cat., Fogg Art Museum (Cambridge, MA, 1943), p. 4
  • Agnes Mongan, "Drawings by Ingres in the Winthrop Collection", Gazette des Beaux-Arts (July-December 1944), ser. 6, 26, p. 388 n. 1
  • Jean Cassou, Ingres, Editions de la Connaissance (Brussels, Belgium, 1947), pp. 74-76, pl. 28
  • Claude Roger-Marx, Ingres, J. Marguerat (Lausanne, Switzerland, 1949), no. 39
  • Alain [Emile Chartier], Ingres, Editions du Dimanche (Paris, France, 1949), pls. 34
  • Karl Scheffler, Ingres, A. Scherz (Bern, Switzerland, 1949), pl. 39
  • Jean Alazard, Ingres et l'Ingrisme, Michel (Paris, France, 1950), pp. 94, 113-114, 119, 139
  • Masterpieces, Ziff-Davis (Chicago, IL, 1950), repr. p. 107, text p. 104
  • A Loan Exhibition of Paintings and Drawings from the Ingres Museum at Montauban, exh. cat., Knoedler Galleries (New York, NY, 1952), p. [5], under no. 33
  • Walter Friedlaender, David to Delacroix (Cambridge, MA, 1952), pp. 87, 89-90
  • Georges Wildenstein, Ingres, Phaidon Press (London, England, 1954), no. 228
  • Douglas Cooper, The Courtauld Collection: A Catalogue and Introduction (London, 1954), pp. 140-141, under no. 134
  • Lesley Blanch, The Wilder Shores of Love (London, England, 1954), detail repr. on dustjacket
  • Daniel Ternois, "Les livres de comptes de Madame Ingres", Gazette des Beaux-Arts (1956), vol. XLVIII, pp. 163, 175
  • Georges Wildenstein, Ingres (London, England, 1956), pp. 210 no. 228, 213, repr. as fig. 149
  • Norman Schlenoff, Ingres, ses sources littéraires, Presses Universitaires de France (Paris, France, 1956), p. 252 n. 5, pl. XLVII
  • Kenneth Clark, The Nude: A Study in Ideal Form (Garden City, NY, 1956), pp. 217-219, 498 (n., under p. 219)
  • S. Lane Faison, Jr., A Guide to the Art Museums of New England, Harcourt, Brace and Co. (New York, 1958), p. 118, fig. 16
  • Henry de Waroquier, "A Propos d'Ingres", Bulletin du Musée Ingres, Amis du Musée Ingres (Montauban, France, December 1959), p. 12
  • Pontus Grate, Deux critiques d'art de l'epoque Romantique: Gustave Planche et Theophile Thore, Almqvist & Wiksell (Stockholm, Sweden, 1959), pp. 240-241
  • Kenneth Clark, The Nude: A Study in Ideal Form, Doubleday Anchor Books (Garden City, NY, 1959), pp. 218-219, 498 n.
  • Ingres and Degas: Two Classical Draughtsmen, exh. cat., Fogg Art Museum (Cambridge, MA, 1961), p. v no. 17
  • René Huyghe, L'Art et l'Homme, Librairie Larousse (Paris, France, 1961), III, no. 930
  • Daniel Ternois, "Lettres inédites d'Ingres à Hippolyte Flandrin", Bulletin du Musée Ingres, Amis du Musée Ingres (Montauban, France, July 1962), p. 22
  • Anita Brookner, "Art Historians and Art Critics VII: Charles Baudelaire", The Burlington Magazine (1964), vol. CVI, repr. p. 272 fig. 23 p. 276
  • Madeline Cottin, "Theophile Gautier, le Poème de la Femme", Gazette des Beaux-Arts (1967), vol. LXX, p. 307
  • Ingres, exh. cat., Réunion des Musées Nationaux (Paris, France, 1967), under nos. 176-182, 198, 255
  • Ingres et son Temps: Exposition organisé pour le centenaire de la mort d'Ingres, exh. cat., Ministere des affaires culturelles/Reunion des Musées Nationaux (Montauban, France, 1967), under no. 114, p. 79
  • Ingres: Centennial Exhibition, 1867-1967. Drawings, Watercolors and Oil Sketches from American Collections, exh. cat., Fogg Art Museum (Cambridge, MA, 1967), p. x
  • Robert Rosenblum, Jean-Auguste-Dominique Ingres, Harry N. Abrams, Inc. (New York, NY, 1967), pp. 82, 142-145, repr. on dustjacket and pl. 38
  • Paintings from the Bequest of Grenville L. Winthrop shown in conjunction with the Ingres Centennial Exhibition, exh. cat., Fogg Art Museum (Cambridge, MA, 1967), no. III
  • Valentina N. Berezina, Zhan Ogrust Dominik Engr, Sovestkii khudozhnik (Leningrad, 1967), pls. 54 and 58, detail
  • Ingres e Firenze, exh. cat., Centro di Firenze (Florence, Italy, 1968), under nos. 106, 119-121
  • Ingres in Italia: 1806-1824, 1835-1841, exh. cat., Accademia di Francia (Rome, Italy, 1968), pp. 158 under nos. 119-191, 160 under no. 122
  • Emilio Radius and Ettore Camesasca, L'opera completa di Ingres, Rizzoli (Milan, Italy, 1968), no. 128a, pp. 106-107; under no. 167a, p. 117
  • Pierre Angrand, Monsieur Ingres et son époque, La Bibliothèque des Arts (Lausanne, Switzerland, 1968), pp. 187, 222
  • Gridley McKim-Smith, "Grenville L. Winthrop: retrospective for a collector, 2: Grenville Winthrop's Western art", The Connoisseur (1969), vol. CLXX, pp. 190-192
  • Hans Naef, "'Odalisque à l'Esclave' by J.A.D. Ingres", Fogg Art Museum Acquisitions, 1968, Fogg Art Museum (Cambridge, MA, 1969), pp. 80-99
  • Dorothy W. Gillerman, ed., Grenville L. Winthrop: Retrospective for a Collector, exh. cat., Fogg Art Museum (Cambridge, 1969), no. 85, p. 240
  • Heinz Peters, ed., Kleine Museum Reise durch Amerika, Gebr. Mann Verlag (Berlin, Germany, 1969), p. 100
  • D. Fromont, La Peinture française du classicisme au réalisme (Brussels, Belgium, 1969), no. 15, detail repr.
  • Pierre Angrand and Hans Naef, "Ingres et la famille de Pastoret, correspondence inedite. II", Bulletin du Musée Ingres, Amis du Musée Ingres (Montauban, France, July 1970), p. 19
  • Hélène Toussaint, Le Bain Turc d'Ingres, Réunion des Musées Nationaux (Paris, France, 1971), no. 5, pp. 19-21, 32
  • Daniel Ternois and Ettore Camesasca, Tout l'oeuvre peint d'Ingres (Paris, France, 1971), no. 129a, pp. 106-107; under no. 168a, p. 117
  • John Connolly, "Ingres and the Erotic Intellect", ARTnews Annual (1972), vol. XXXVIII, p. 21, 25, 31 nn. 8, 9; repr. p. 23
  • The Age of Neo-Classicism, exh. cat., Royal Academy and Victoria and Albert Museum (London, England, 1972), pp. 931-932, under no. 660
  • Edmund Burke Feldman, Varieties of Visual Experience, Art as Image and Idea, Harry N. Abrams, Inc. (New York, NY, 1972), repr. p. 445
  • John Connolly, "Ingres Studies: Antiochus and Stratonice: The Bather and Odalisque Themes" (1974), pp. 45-52
  • Ossian, exh. cat., Grand Palais (Paris, France, 1974), p. 99
  • Pierre Barousse, "L' 'idée' chez Monsieur Ingres", Bulletin du Musée Ingres, Amis du Musée Ingres (Montauban, France, 1975), p. 162
  • Charles Baudelaire, "Exposition Universelle", Oeuvres Complètes (Paris, France, 1976), vol. II, p. 588, vol. II, p. 588
  • "Treasures from New England: Special Section for the Nation's Bicentennial", The Boston Globe (Boston, MA, September 12, 1976), p. 9
  • Gianni Rizzoni and Fiorella Minervino, Ingres, Mondadori (Milan, Italy, 1976), pp. 60-61, fig. 4
  • René Huyghe, La relève de l'imaginaire: la peinture francaise au XIXe siecle: realisme, romantisme, Flammarion (Paris, France, 1976), pp. 208, 224
  • Frederick S. Wight, The Potent Image: Art In the Western World from Cave Paintings to the 1970s, Collier Books (New York, NY, 1976), repr. b/w p. 229
  • William Hauptman, "Ingres and Photographic Vision", History of Photography (April 1977), I, pp. 117-128, pp. 124-125, repr. p. 128 fig. 15
  • Jon Whiteley, Ingres, Oresko Books Ltd. (London, England, 1977), pp. 11-15, 70, no. 52, repr.
  • Evelyne Pansu, Ingres Dessins, Chene (Paris, France, 1977), pp. 18-19, 31
  • Jean Sutherland Boggs, "Variations on the Nude", Apollo (June 1978), vol. CVII, no. 196, pp. 487-489, p. 487, fig. 1, pp. 488-489
  • Hans Naef, Die Bildniszeichnungen von J.-A.-D. Ingres (Bern, Switzerland, 1978), vol. II, pp. 519, 566; vol. III pp. 230, 371, 436 fig. 3
  • Grand Collection of World Art, Kodansha (Tokyo, Japan, 1978), pl 18
  • The Second Empire: Art in France under Napoleon III, exh. cat., Philadelphia Museum of Art (Philadelphia, PA, 1978), under no. VII-41
  • Ingres: Drawings from the Musée Ingres at Montauban and Other Collections, exh. cat., Victoria and Albert Museum (London, England, 1979), p. 44, above nos. 61-63
  • Gaetan Picon, Jean-Auguste-Dominique Ingres, Quai des Celestins, 4 (New York, NY, 1980), repr. in color p. 68
  • Marjorie B. Cohn and Susan L. Siegfried, Works by J. A. D. Ingres in the Collection of the Fogg Art Museum, Fogg Art Museum (Cambridge, MA, 1980), pp. 10-11, 116, 118-119, repr. in b/w p. 117; color p. 16, no. 41
  • 25 Great Masters of Modern Art: Ingres, Kodansha (Tokyo, Japan, 1981), repr. in color, no. 44
  • William R. Johnston, The Nineteenth Century Paintings in the Walters Art Gallery, The Walters Art Museum (Baltimore, MD, 1982), p. 37, under no. 6
  • Walter B. Denny, "Orientalism in European Art", The Muslim World (July 1983 - October 1983), vol. LXXIII, no. 3, repr. in b/w fig. 7; text p. 267
  • Smaro Kamboureli, "Discourse and Intercourse, Design and Desire in the Erotica of Anaïs Nin", Journal of Modern Literature (March 1984), vol. II, no. 1, repr. in b/w p. 158
  • John Russell, "Ingres Saw Himself as the Savior of French Painting", New York Times (New York, NY, January 8, 1984), pp. 29-30, p. 30
  • Norman Bryson, Tradition and Desire: From David to Delacroix (Cambridge and New York, 1984), pp. 137, 138, repr. as fig. 72, pp. 139-142, 144
  • David Finn, How to Visit a Museum, Harry N. Abrams, Inc. (New York, NY, 1985), pp. 126-127, repr. in color
  • Daniel Ternois, "Une amitié romaine: les lettres d'Ingres à Édouard Gatteaux", Actes du Colloque: Ingres et Rome, Montauban (Montauban, 1986), pp. 17-61, pp. 19, 21, 22, 41-42
  • Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), no. 200, p. 176, repr. in color
  • Jack Flam, Matisse: the Man and His Art 1869-1918, Cornell University Press (Ithaca, NY, 1986), pp. 158, 191; repr. in b/w p. 194 as fig. 190
  • Edmund Burke Feldman, Varieties of Visual Experience, Art as Image and Idea, Harry N. Abrams, Inc. (New York, NY, 1987), p. 304, repr.
  • Barbara Chase-Riboud, De Macht van een Sultane, Van Holkema and Warendorf (Houten, The Netherlands, 1988), repr. on dustjacket
  • Dessins d'Ingres du musée de Montauban, exh. cat., Pavilion des Arts (Paris, France, 1989), pp. 46-47, repr. in b/w above no. 49
  • Tableaux et dessins anciens, auct. cat., Christie's, Monaco (Monaco, June 16, 1989), p. 105, under no. 68
  • Felicity Campbell, "An Historical and Technical Investigation of J.A.D. Ingres' Odalique with a Slave at the Fogg Art Museum and Its Connection to Related Works" (thesis (certificate in conservation), Straus Center for Conservation and Technical Studies, 1990), Unpublished, pp. 1-43 passim
  • Edgar Peters Bowron, European Paintings Before 1900 in the Fogg Art Museum: A Summary Catalogue including Paintings in the Busch-Reisinger Museum, Harvard University Art Museums (Cambridge, MA, 1990), p. 71, color plate; pp. 112, 226, repr. b/w cat. no. 278
  • Annalisa Zanni, Ingres: catalogo completo dei dipinti, Cantini Editore (Florence, Italy, 1990), cat. 86, pp. 110-111, repr.
  • Michele Haddad, La Divine et l'Impure: Le Nu au XIXe, Jaguar Editions (Paris, France, 1990), repr. in color pp. 114-115; text p. 102, 116-117, 170
  • Joy S. Kasson, Marble Queens and Captives: Women in Nineteenth-Century American Sculpture, Yale University Press (New Haven, CT and London, England, 1990), repr. in b/w fig. 18 p. 53
  • "Conservation Notes", Harvard University Art Museums Observer, Harvard University Art Museums (Cambridge, MA, November 8, 1991), Vol. III, No. 19
  • Carol Ockman, "Two Large Eyebrows a l'Orientale: Ethnic Stereotyping in Ingres' Baronne de Rothschild' ", Art History (December 1991), vol. 14, no. 4, repr. fig. 26 p. 529; mentioned p. 527
  • Gaetan Picon, Ingres, Skira Rizzoli (Geneva, Switzerland/New York NY, 1991), repr. in color p. 44; pp. 54, 74-75, 117
  • Dr. Christine Ekelhart-Reinwetter, J. A. D. Ingres 1780-1867: Zeichnungen und Olstudien aus dem musée Ingres, Montauban, Ferdinandeum/Albertina (Innsbruck/Vienna, Austria, 1991), pp. 157-158, repr. in b/w as abb. 62
  • Edmund Burke Feldman, Varieties of Visual Experience, Art as Image and Idea, Harry N. Abrams, Inc. (New York, NY, 1992), repr. in color p. 320
  • Neoclassic Art, Revolutionary Epoque Art, Shogakukan Inc. (Tokyo, Japan, 1993), repr. in color fig. 79
  • Dr. Ruth Westheimer, The Art of Arousal, Abbeville Press (New York, NY, 1993), repr. in color pps. 16-17
  • José Luis Díez, Federico de Madrazo y Kuntz (1815-1894), exh. cat., Museo Nacional del Prado (Madrid, Spain, 1994), p. 218, repr. in b/w
  • Cara Dufour Denison, The Thaw Collection: Master Drawings and New Acquisitions, exh. cat., The Morgan Library & Museum (New York, NY, 1994), pp. 96-97, under no. 66
  • Leonard M. Helfgott, Ties that Bind: a Social History of the Iranian Carpet, Smithsonian Institution Press (Washington, D.C, 1994), repr. in b/w p. 99, fig. 5
  • Eric Bertin, "Les peintures d'Ingres, II: Expositions et ventes publiques du vivant de l'artiste", Bulletin du Musée Ingres (1995), nos. 67-68, pp. 103-111, pp. 106, 108
  • [Unidentified article], Shinchosha (Tokyo, Japan, 1995), vol. 6, p. 33, repr. in color
  • Georges Vigne, Dessins d'Ingres: Catalogue raisonné des dessins du musée de Montauban, Gallimard/Reunion des Musées Nationaux (Paris, France, 1995), pp. 406-408, 440
  • Georges Vigne, Ingres, Citadelles & Mazenod and Abbeville Press (Paris, France; New York, NY, 1995), pp. 218-222, repr. in color as fig. 178; detail repr. p. 201 as fig. 166...
  • Carol Ockman, Ingres' Eroticized Bodies: Retracing the Serpentine Line (New Haven, CT, 1995), pp. 53, 73, 74, repr. as fig. 34, 97, 121, 165 n. 33
  • Le baron Taylor, l'association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846, Fondation Taylor (Paris, France, 1995), pp. 34, 84, repr. as fig. 59; pp. 112, 123, 195-197, 222, 225, 228, 241, 257...
  • Patricia Condon, "Ingres, Jean-Auguste-Dominique" (London and New York, NY, 1996), pp. 841, 844
  • Patricia Condon, "Les Dessins Historiques achevés de J.A.D. Ingres" (part two), Bulletin du Musée Ingres, Amis du Musée Ingres (Montauban, France, 1996), no. 69, pp. 3-38, pp. 15, 36
  • Eric Bertin, "Les Peintures d'Ingres, Estampes et photographies de reproduction parues du vivant de l'artiste", Bulletin du Musée Ingres, Amis du Musée Ingres (Montauban, France, 1996), no. 69, pp. 60-62
  • An Introduction to Music and Art in the Western World, Brown & Benchmark Publishers (1996), p. 224, colorplate 46 following p. 226
  • Richard D. Leppert, Art and the Committed Eye: The Cultural Functions of Imagery, Westview Press, Inc. (Boulder, Colorado and Cumnor Hill, Oxford, 1996), pp. 234-236, 307 nn. 39, 40, fig. 9.6, pl. 16
  • Cara Dufour Denison, From Mantegna to Picasso: Drawings from the Thaw Collection at the Pierpont Morg, exh. cat., The Morgan Library & Museum (New York, NY, 1996), pp. 118-119, under no. 58, repr.
  • Paul de Roux, Ingres, Herscher (Paris, France, 1996), pp. 53, 68-69, repr. as fig. 20
  • Robert Newman, ed., Pedagogy, Praxis, Ulysses: Using Joyce's Text to Transform the Classroom (Ann Arbor, MI, 1996), pp. 186-188, repr.
  • William Rubin, ed., Picasso and Portraiture: Representation and Transformation, exh. cat., The Museum of Modern Art (New York, NY, 1996), p. 360, repr.
  • Susan Grace Galassi, Picasso's variations on the masters: confrontations with the past, Harry N. Abrams, Inc. (New York, NY, 1996), p. 141, repr. as fig. 5-11
  • Daniel Ternois, "Ingres et la photographie", Bulletin du Musée Ingres (1997), no. 70, pp. 41-50, p. 43
  • Andrew Carrington Shelton, "From Making History to Living Legend: The Mystification of M. Ingres (1834-1855)" (1997), vol. I, pp. x, 159, 175, 216 n. 159; vol II, pp. 246, 247, 302-303 n. 40...
  • Masterpieces of world art : Fogg Art Museum, Arthur M. Sackler Museum, Busch-Reisinger Museum, 1997
  • Hans Belting, Das Unsichtbare Meisterwerk, Verlag C.H. Beck (Munich, Germany, 1998), pp. 134-135, repr.
  • Christopher Riopelle, "The Early Nineteenth Century", The Critics' Choice: 150 Masterpieces of Western Art, ed. Marina Vaizey (New York, NY, 1999), pp. 228, 229, repr.
  • John Gage, Colour and Meaning: Art, Science and Symbolism, Thames & Hudson (London, England, 1999), pp. 47, 48, 196, 198-9, 200, Pl.96, Inv. 51
  • Aileen Ribeiro, Ingres in Fashion: Representations of Dress and Appearance in Ingres's Images of Women, Yale University Press (New Haven, CT and London, England, 1999), pp. 179, 184, 205, 208 (detail repr.), 211, 231-236, repr. as fig. 186
  • Daniel Ternois, ed., Lettres d'Ingres à Marcotte d'Argenteuil, Société de l'Histoire de l'Art Français (Nogent-le-Roi, France, 1999), pp. 22, 25, 30-32, 35-36, 42, 45-46, 114-119, 166-168, 184, 205-212, 224...
  • Valérie Bajou, Monsieur Ingres, Editions Adam Biro (Paris, France, 1999), repr. p. 14, detail repr. p. 246; pp. 257-263, fig. 173; pp. 267-268, 271, 310..
  • Old Master Drawings, auct. cat., W. M. Brady & Co., Inc. (New York, NY, 1999), under cat. no. 33, repr. as fig. 22
  • Gary Tinterow and Philip Conisbee, Portraits by Ingres: Image of an Epoch, exh. cat., The Metropolitan Museum of Art (New York, NY, 1999), pp. 306 n. 30, 329, repr. as fig. 190, 410, 518 n. 79, 531, 535, 551, 552, 555..
  • Seiyo Bijutsukan [The History of Western Art], Shogakukan Inc. (Tokyo, Japan, 1999), p. 844, repr. in color
  • Jack Flam, "Matisse and Ingres", Apollo (October 2000), v. 152, no. 464, pp. 20-25, pp. 20-21, repr. in b/w
  • Amelia Jones, "Posing the Subject: Performing the Other as Self", Making a Scene, ARTicle Press (Birmingham, England, 2000), pp. 33-56, p. 47; repr. in b/w pp. 48-49
  • Ruth Bernard Yeazell, Harems of the Mind; Passages of Western Art and Literature, Yale University Press (New Haven, 2000), pp. 27, 221, 228-29, 250-52, 259, repr. as fig. 12
  • Adrian Rifkin, Ingres, Then and Now, Routledge (London and New York, NY, 2000), pp. 28, 30, detail repr. as fig. 14, pp. 44, 71
  • Uwe Fleckner, Jean-Auguste-Dominique Ingres 1780-1867, Könemann Verlagsgesellschaft (Cologne, Germany, 2000), pp. 88-90, repr. in color as no. 87
  • Sam Hunter, Modern Art: Painting, Sculpture, Architecture, Harry N. Abrams, Inc. (New York, NY, 2000), repr. as fig. 5, p. 12
  • Holly Edwards, Noble Dreams, Wicked Pleasures: Orientalism in America, 1870-1930, exh. cat., Princeton University Press and Sterling and Francine Clark Art Institute (Princeton, NJ, 2000), p. 13; repr. in b/w p. 15, fig. 5
  • Anita Brookner, Romanticism and its Discontents (New York, NY, 2000), pp. 107-108, repr. as fig. 36
  • Kirsten Hoving Powell, "Le Violon d'Ingres: Man Ray's Variations on Ingres, Deformation, Desire and de Sade", Fingering Ingres (Oxford and Malden, MA, 2001), pp. 137, 138, repr. as fig. 68
  • H. W. Janson, History of Art [6th ed.], Harry N. Abrams, Inc. (New York, NY, 2001), repr. p. 665 as fig. 21-30
  • Mària van Berge-Gerbaud, Ingres et Marcotte: Lettres, documents, dessins, et gravures [Exposition-dossier II], exh. cat., Fondation Custodia (Paris, 2001), pp. 5, 7, 30, under no. 26, 37 under no. 36, 38 under no. 37 (cf. fig. 26)...
  • Daniel Ternois, Lettres d’Ingres à Marcotte d’Argenteuil: dictionnaire, Librairie des Arts et Métiers-Ed. Jacques Laget (Nogent-le-Roi, France, 2001), pp. 49, 50, 57, 76, 78, 83, 90, 99, 103, 118, 143, 161-166, 167, 179, 188, 191..
  • Hans Belting, The Invisible Masterpiece, Reaktion Books (London, 2001), pp. 104-105, repr. in b/w
  • Amelia Jones, "'Every Man Knows Where and How Beauty Gives him Pleasure': Beauty Discourse and the Logic of Aesthetics", Aesthetics in a Multicultural Age, Oxford University Press (UK) (Oxford, England, and New York, 2002), pp. 215-239, pp. 228-231, repr. as fig. 4
  • Hollis Clayson, "Henri Regnault's Wartime Orientalism", Orientalism's Interlocutors: Painting, Architecture, Photography, Duke University Press (Durham, NC, 2002), pp. 131-178, p. 152; repr. p. 153 as fig. 5
  • Emory Elliott, ed., Aesthetics in a Multicultural Age, Oxford University Press (NY) and Oxford University Press (UK) (Oxford, England, and New York, 2002), p. 229, repr.
  • Chikashi Kitazaki and Mina Oya, ed., Between Reality and Dreams: Nineteenth Century British and French Art from the Winthrop Collection of the Fogg Art Museum, exh. cat., National Museum of Western Art (Ueno, 2002), pp. 92-93, cat. #13, color repr.
  • Impressionist and Modern Art, auct. cat., de Pury & Luxembourg (London, England, June 24 2002), p. 56, repr. in color as fig. 4
  • Elizabeth Cowling and John Golding, Matisse Picasso, exh. cat., Tate Gallery Publishing Limited (London, 2002), p. 237; repr. in b/w as fig. 64, p. 355
  • Joan DelPlato, Multiple Wives, Multiple Pleasures: Representing the Harem, 1800-1875, Associated University Presses (Cranbury, London and Mississauga, 2002), pp. 38-39, repr. in b/w as fig. 2.3
  • Christopher Riopelle, "David, Delacroix, and French Painting around 1800", French Paintings from the Musée Fabre, Montpellier, National Gallery of Australia, Canberra (Canberra, Australia, 2003), pp. 107-108, fig. 102
  • Asher Miller, "Ingres and the Fondation Custodia: Some Recent Publications", Master Drawings (Spring 2003), 41, no. 1, p. 73, p. 73
  • Stephan Wolohojian, ed., A Private Passion: 19th-Century Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University, exh. cat., The Metropolitan Museum of Art and Yale University Press (U.S.) (New York, 2003), no. 72, pp. 187-190, repr. in color
  • Philip Ball, Bright Earth, University of Chicago Press (Chicago, IL, 2003), pp. 7, 171, 176
  • Michael Harris, Colored Pictures: Race and Visual Representation, The University of North Carolina Press (Chapel Hill NC, 2003), pp. 126, 130; repr. in color p. 130
  • Christopher Riopelle, Harvard's Winthrop Collection: Nineteenth-Century Paintings and Drawings from the Grenville L. Winthrop Collection, exh. cat., National Gallery Company Limited (London, 2003), p. 28, cat. 15, ill.
  • Ilaria Ciseri, Il Romanticismo: 1780-1860: la nascita di una nuova sensibilità, A. Mondadori (Milan, Italy, 2003), pp. 200-201, repr. in color
  • Stephan Wolohojian, Ingres, Burne-Jones, Whistler, Renoir... La Collection Grenville L. Winthrop, exh. cat., Musée des Beaux-Arts de Lyon and Réunion des Musées Nationaux (Paris, France, 2003), no. 72, pp. 195-199, repr. in color
  • Robert Dupin, "La Collection Winthrop", Universalia, Encyclopaedia Universalis (Paris, France, 2004), pp. 343-344, p. 344
  • Ivan Davidson Kalmar, "The Houkah in the Harem: On Smoking and Orientalist Art", Smoke: A Global History of Smoking, Reaktion Books (London, 2004), p. 220, repr.
  • Dr. Irvin Cemil Schick, Çerkes Güzeli Bir Sarkiyatçi Imgenin Serüveni, Oglak Güzel Kitaplar (Beyoglu-Istanbul, Turkey, 2004), p. 106, repr. in color
  • Delacroix to Munch: Nineteenth-Century Visions, exh. cat., Boston Museum of Fine Arts (Nagoya, Japan, 2004), repr. in color as fig. 8, p. 37
  • Louis-Antoine Prat, Ingres, 5 Continents Press (Milan, Italy, 2004), cat. no. 48, repr., p. 90
  • Laurence Madeline, ed., Picasso Ingres, exh. cat., Réunion des Musées Nationaux and Librairie Arthème Fayard (Paris, 2004), under no. 71
  • Patricia Condon, "Jean-Auguste-Dominique Ingres: The Politics of Friendship", Seeing and Beyond: Essays on Eighteenth- to Twenty-First Century Art..., ed. Deborah J. Johnson, Peter Lang (New York NY and Washington DC, 2005), pp. 43-61, p. 47; repr. in b/w as fig. 1, p. 60
  • Robert Rosenblum, 19th Century Art, Pearson Prentice Hall (Upper Saddle River, NJ, 2005), pp. 146-147, repr. in color as fig. 130
  • Perrin Stein, French Drawings from the British Museum: Clouet to Seurat, exh. cat., British Museum Press/Metropolitan Museum (New York NY, 2005), p. 714, repr. as fig. 1
  • Wendy Nolan Joyce, "Sculpting the Modern Muse: August Clésinger's 'Femme piqueé par un serpent'", ed. Cassandra Hamrick, Suzanne Nash, and Dr. Marshall Olds, University of Nebraska Press (Lincoln, NE and London, England, Fall 2006), p. 174, repr. fig. 34
  • H. W. Janson and Anthony F. Janson, A Basic History of Western Art, Prentice Hall (Upper Saddle River, NJ, 2006), p. 455, repr. in color
  • Vincent Pomarède, Stéphane Guégan, Louis-Antoine Prat, and Eric Bertin, Ingres 1780-1867, exh. cat., Editions Gallimard (Paris, France, 2006), p. 178, repr. as ill. 139
  • Stéphane Guégan, Ingres: Erotic Drawings, Flammarion (Paris, France, 2006), repr. as pl. 56
  • Karin H. Grimme, Jean-Auguste-Dominique Ingres, 1780-1867, Taschen GmbH (Cologne, Germany, 2006), p. 42, repr. p. 43 in color
  • Pierre Rosenberg, Only in America: One Hundred Paintings in American Museums Unmatched in European Collections, Skira (Milan, 2006), repr. on p. 174
  • Charles Newton, Images of the Ottoman Empire, Victoria and Albert Museum (London, 2007), pp. 120-121, repr. in color on p. 121.
  • Richard D. Leppert, The Nude: The Cultural Rhetoric of the Body in the Art of Western Modernity, Westview Press, Inc. (Boulder, CO, 2007), pp. 111-112, repr. as fig. 3.9
  • Stephan Wolohojian and Alvin L. Clark, Jr., Harvard Art Museum/ Handbook, ed. Stephan Wolohojian, Harvard Art Museum (Cambridge, 2008), p. 145, repr.
  • Michael Marrinan, Romantic Paris: Histories of a Cultural Landscape, 1800-1850, Stanford University Press (Stanford, 2009), pp. 198-201, fig. 94
  • Impressionist /Modern Evening Sale, auct. cat., Christie's, New York (New York, 4 May 2010), p. 89, repr. in color as Fig 3.
  • Laura Neve, Paul Delvaux: Aux Sources de l'Oeuvre, Editions Racine (Brussels, 2010), p. 105, repr. in color p 104
  • Deanna Petherbridge, The Primacy of Drawing: Histories and Theories of Practice, Yale University Press (U.S.) (New Haven and London, 2010), p. 80
  • John Elderfield and Lauren Mahony, de Kooning: A Retrospective, exh. cat., ed. David Frankel, The Museum of Modern Art (New York, NY, 2011), p. 473, repr. Fig. 3
  • Louis-Antoine Prat, Le dessin français au XIXe siècle, Somogy Éditions d'Art (Paris, 2011), p. 182
  • Agnes Husslein-Arco and Sabine Grabner, ed., Orient & Occident: Travelling 19th Century Austrian Painters, exh. cat., Belvedere (Vienna, Austria & Munich, Germany, 2012), pp. 30-31, repr. Fig. 2
  • Maria Teresa Caracciolo, Le Romantisme, Citadelles & Mazenod (Paris, 2013), repr. in color, pp. 234-235
  • Mio Wakita, Staging Desires: Japanese Feminity in Kusakabe Kimbei's Nineteenth-Century Souvenir Photography, D. Reimer (Berlin, 2013), p. 115; repr. in color as plate 36
  • Theodore E. Stebbins, Jr. and Melissa Renn, American Paintings at Harvard, Volume One: Paintings, Watercolors, and Pastels by Artists Born before 1826, Yale University Press (U.S.) and Harvard Art Museums (Cambridge and New Haven, 2014), p. 27
  • Sonia Del Re, Dennis Lanigan, and Christopher Newall, Beauty's Awakening: Drawings by the Pre-Raphaelites and Their Contemporaries from the Lanigan Collection, exh. cat., ed. Caroline Wetherilt, National Gallery of Canada (Ottawa, 2015), p. 92, fig.. 32.2, repr.
  • Cécile Berly and Jean-Jacques Charles, Peindre la musique, Artlys (Paris, 2017), repr. p. 40
  • Renée Grimaud, Ingres: La pureté des lignes (Genevilliers, 2018), p. 20, repr.
  • Silvia Loreti, Pablo Picasso, Tate Publishing (London, 2018), pp. 13-14, repr. p. 13 as fig. 9
  • Maïthé Vallès-Bled, Kisling: Grande figure de l'Ecole de Paris, exh. cat., Brain Trust Inc. (Tokyo, 2019), p. 134, repr. as fig. 6
  • Kerstin Stakemeier, Illberal Arts, exh. cat., ed. Anslem Franke, Haus der Kulturen der Welt and PoLYpeN (Berlin, 2021), pp. 65-74, repr. p. 67 as fig. 1
  • Neil McWilliam, The Aesthetics of Reaction: Tradition, Faith, Identity & the Visual Arts in France, 1900-1914, Brepols (Turnhout, 2021), pp. 215-216, repr. p. 215 as fig. 54
  • Erica E. Hirshler, Fashioned by Sargent, exh. cat., Museum of Fine Arts, Boston (Boston, 2023), p. 128, fig. 68
  • Wendy Steiner, The Beauty of Choice: On Women, Art, and Freedom, Columbia University Press (New York, 2024), pp. 125-126, repr. p. 126 as fig. 7.1

Exhibition History

  • [Exhibition for the Pension and Aid Fund of the Societé des Artistes], Galerie des Beaux-Arts, Paris, 01/11/1846 - 01/11/1846
  • Exposition Universelle de Paris, 1855, Palais des Beaux-Arts, Paris, Paris, 05/15/1855 - 12/31/1855
  • Unidentified Exhibition, Galerie Petit, 1864, Galerie Francis Petit, Paris, 03/01/1864 - 03/31/1864
  • Tableaux, etudes peintes, dessins et croquis de J.-A.-D. Ingres peintre d'histoire, sénateur, membre de l'Institut, École Impériale des Beaux-Arts, Paris, 04/10/1867 - 12/31/1867
  • Exposition David et ses elèves, Palais des Beaux-Arts, Paris, Paris, 04/07/1913 - 06/09/1913
  • Exposition du Centenaire de la Conquête de l'Algerie, 1830-1930, Petit Palais, Paris, Paris, 05/01/1930 - 06/30/1930
  • Exposition d'oeuvres importantes de grands maîtres du dix-neuvième siècle Prêtées au profit de la Cité Universitaire de l'Université de Paris, Galerie Paul Rosenberg, Paris, 05/18/1931 - 06/27/1931
  • Chinese sculpture, bronzes, jades, paintings and drawings, Egyptian and Persian sculpture, Pre-Columbian art : selected from the collection of Grenville Lindall Winthrop, Fogg Art Museum, Cambridge, 10/01/1943 - 02/28/1944
  • Grenville L. Winthrop: Retrospective for a Collector, Fogg Art Museum, Cambridge, 01/23/1969 - 03/31/1969
  • Master Paintings from the Fogg Collection, Fogg Art Museum, Cambridge, 04/13/1977 - 08/31/1977
  • Works by J.-A.-D. Ingres in the Collection of the Fogg Art Museum, Fogg Art Museum, Cambridge, 10/17/1980 - 12/07/1980
  • Masterpieces of European Art, Busch-Reisinger Museum, Cambridge, 06/22/1985 - 09/15/1985
  • Between Reality and Dreams: Nineteenth Century British and French Art from the Winthrop Collection of the Fogg Art Museum, National Museum of Western Art, Tokyo, 09/14/2002 - 12/08/2002
  • A Private Passion: 19th-Century Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University, Musée des Beaux-Arts de Lyon, Lyon, 03/15/2003 - 05/26/2003; National Gallery, London, 06/25/2003 - 09/14/2003; The Metropolitan Museum of Art, New York, 10/23/2003 - 01/25/2004
  • For Students of Art and Lovers of Beauty: Highlights from the Collection of Grenville L. Winthrop, Harvard University Art Museums, Fogg Art Museum, Cambridge, 04/16/2004
  • Re-View: S424-426 Western Art from 1560 to 1900, Harvard Art Museums/Arthur M. Sackler Museum, Cambridge, 08/16/2008 - 06/18/2011
  • Ancient to Modern, Harvard Art Museums, Cambridge, 01/31/2012 - 06/01/2013
  • 32Q: 2120 19th Century, Harvard Art Museums, Cambridge, 11/16/2014 - 01/01/2050

Subjects and Contexts

  • Google Art Project
  • Collection Highlights

Related Articles

Related Works

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at am_europeanamerican@harvard.edu