Woman before an Aquarium

Art Institute of Chicago, Group of Modern Paintings from the Birch-Bartlett Collection, Sept. 8–Oct. 22, 1923, no cat. Art Institute of Chicago, Birch-Bartlett Collection of Modern European Paintings, Sept. 3–Oct. 22, 1924, no cat. Minneapolis Institute of Arts, Exhibition of Modern French Paintings from the Birch-Bartlett Collection Lent by Frederick C. Bartlett of Chicago, Apr. 1925, cat. 21, as Goldfish Bowl. Art Institute of Chicago, Birch-Bartlett Collection of Modern European Paintings, Sept. 8–Oct. 8, 1925, no cat. Boston Art Club, Birch-Bartlett Collection of Modern French Paintings, Dec. 9–26, 1925, cat. 23, as Femme devant un aquarium. New York, Museum of Modern Art, Painting in Paris from American Collections, Jan. 19–Feb. 16, 1930, cat. 52 (ill.), as Woman Looking at Aquarium. Providence, Rhode Island School of Design, Modern French Art, Mar. 11–31, 1930, cat. 24, as Woman Looking at Aquarium, 1910–17. Art Institute of Chicago, “A Century of Progress”: Loan Exhibition of Paintings and Sculpture, June 1–Nov. 1, 1933, cat. 398, as Woman before an Aquarium, 1921. Art Institute of Chicago, “A Century of Progress”: Exhibition of Paintings and Sculpture for 1934, June 1–Nov. 1, 1934, cat. 352, as Woman before an Aquarium, 1921. Philadelphia Museum of Art, Henri Matisse: Retrospective Exhibition of Paintings, Drawings, and Sculpture, Apr. 3–May 10, 1948, cat. 62 (ill.), as Woman Before an Aquarium, 1924. Art Institute of Chicago, Masterpiece of the Month: Woman before an Aquarium by Henri Matisse, Sept. 1950, no cat. New York, Museum of Modern Art, Henri Matisse, Nov. 13, 1951–Jan. 13, 1952, cat. 54, as Woman before an Aquarium, (1921); Cleveland Museum of Art, Feb. 5– Mar. 16, 1952; Art Institute of Chicago, Apr. 1–May 4, 1952; San Francisco Museum of Art, May 22–July 6, 1952. Paris, Musée national d’art moderne, Rétrospective Henri Matisse, July 28–Nov. 18, 1956, cat. 63 (ill.), as Femme devant un Aquarium, 1921. New York, Museum of Modern Art, Henri Matisse: A Retrospective, Sept. 24, 1992–Jan. 12, 1993, pl. 255, as Woman Before an Aquarium/Femme devant un aquarium, [late1921 or 1923]. Zurich, Kunsthaus, Max Beckmann und Paris: Matisse, Picasso, Braque, Léger, Rouault, Sept. 25, 1998–Jan. 3, 1999, cat. 83 (ill.), as Frau vor einem Aquarium/Femme devant un aquarium, 1921/23; Saint Louis Art Museum [as Max Beckmann and Paris: Matisse, Picasso, Braque, Léger, Rouault], Feb. 6–May 9, 1999, as Woman Before a Fish Bowl, 1921/23. Düsseldorf, K20 Kunstsammlung Nordrhein-Westfalen, Henri Matisse: Figur, Farbe, Raum, Oct. 29, 2005–Feb. 19, 2006, cat. 115 (ill.), as Femme devant un aquarium/Frau mit Goldfischen, 1921–1923; Basel, Foundation Beyeler, Mar. 19–July 9, 2006. Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct. 6, 2013–Feb. 16, 2014, no cat. no. (ill.), as Woman before an Aquarium, 1921–23. The Art Institute of Chicago, Matisse’s Jazz: Rhythms in Color, Mar. 7–June 1, 2026, no cat.

W. A. P., “Modern French Paintings: The Birch-Bartlett Collection,” Bulletin of the Art Institute of Chicago 17, no. 7 (Oct. 1923), p. 71, as Girl with Fishbowl. Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1925), p. 169, cat. 2291, as Femme Devant un Aquarium. Minneapolis Institute of Arts, Exhibition of Modern French Paintings from the Birch-Bartlett Collection, exh. cat. (Minneapolis Institute of Arts, 1925), cat. 21, as Goldfish Bowl. Boston Art Club, Birch-Bartlett Collection of Modern French Paintings, exh. cat. (Boston Art Club, 1925), cat. 23, as Femme devant un aquarium. Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection (Art Institute of Chicago, 1926), n. pag., pp. 26, 27 (ill.), 55, as Femme devant un Aquarium and Femme Devant un Aquarium. “Accessions and Loans,” Bulletin of the Art Institute of Chicago 20, no. 3 (Mar. 1926), p. 44 (ill.), as Femme devant un aquarium. Forbes Watson, “A Note on the Birch-Bartlett Collection,” Arts 9, no. 6 (June 1926), p. 308 (ill.), as Woman with an Aquarium. Jacques Guenne, Portraits d’artistes, L’art et la vie 4 (Éditions Marcel Seheur, 1927), n. pag., as Jeune fille devant un aquarium, 1922. Morton Dauwen Zabel, “An American Gallery of Modern Painting,” Art and Archaeology 26, no. 6 (Dec. 1928), pp. 229 (ill.), 233, as Femme devant un Aquarium. Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection, 2nd ed. (Art Institute of Chicago, 1929), n. pag., pp. 34–35 (ill.), 61, as Femme devant un Aquarium, Femme devant un Aquarium (Mlle. Matisse), and Femme Devant un Aquarium. Painting in Paris from American Collections, exh. cat., foreword by Alfred H. Barr, Jr. (Museum of Modern Art, New York, 1930), pp. 33, cat. 52; n. pag., no. 52 (ill.), as Woman Looking at Aquarium. Henry McBride, Matisse, Modern Art (Alfred A. Knopf, 1930), p. 20; pl. 22, as “Interior” and Femme devant un aquarium. Rhode Island School of Design, Modern French Art, exh. cat. (Rhode Island School of Design, 1930), cat. 24, as Woman Looking at Aquarium, 1910–1917. Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Art Institute of Chicago, 1932), p. 162, as Femme devant un Aquarium. James Johnson Sweeney, “La peinture française moderne à l’Institut des beaux-arts de Chicago,” Cahiers d’Art 8–10 (1932), pp. 335 (ill.), 336, as la Femme devant un aquarium. Walter J. Sherwood, “The Famous Birch Bartlett Collection,” Chicago Visitor (Oct. 1932), pp. 17 (ill.), 40, as The Woman and the Aquarium. Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture; Lent from American Collections, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1933), p. 56, cat. 398, as Woman before an Aquarium, Nice, 1921. Daniel Catton Rich, “The Exhibition of French Art: ‘Art Institute’ of Chicago,” Formes 33, English edition (1933), n. pag. (ill.), as Femme devant un Aquarium. Art Institute of Chicago, Catalogue of “A Century of Progress”: Exhibition of Paintings and Sculpture, 1934, ed. Daniel Catton Rich, exh. cat. (Art Institute of Chicago, 1934), p. 52, cat. 352, as Woman before an Aquarium, Nice, 1921. Alexander Romm, Henri-Matisse, trans. Chen I-wan (Ogiz-Izogiz, 1937), pp. 57, 74, n. pag. (ill.), as Woman with an Aquarium, 1924. Gino Severini, Matisse, “Anticipazioni,” Serie arti 6 (Libreria Fratelli Bocca, 1944), p. 26 (ill.), as Donna e acquario. Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch Bartlett Collection (Art Institute of Chicago, 1946), pp. 32, 33 (ill.), 57, as Woman before an Aquarium/(Femme devant un Aquarium—Mlle. Matisse), 1921. Alexander Romm, Matisse: A Social Critique, trans. Jack Chen (Lear, 1947), pp. 77, 95, n. pag. (ill.), as Woman with an Aquarium, 1924. Henry Clifford and Henri Matisse, Henri Matisse: Retrospective Exhibition of Paintings, Drawings, and Sculpture, Organized in Collaboration with the Artist, exh. cat. (Philadelphia Museum of Art, 1948), pp. 40, cat. 62; n. pag., no. 62 (ill.), as Woman Before an Aquarium, 1924. Clement Greenberg, “Matisse, Seen Through Soviet Eyes,” New York Times, Jan. 25, 1948, p. BR7, as Woman Looking at Aquarium. Clement Greenberg, “On Critics and Greenberg: Reply,” Partisan Review 15, no. 6 (June 1948), pp. 685–86, as Woman before an Aquarium, 1924. Christopher E. Fremantle, “Matisse in Philadelphia,” Studio136, 666 (Sept. 1948), p. 95 (ill.), as Woman with an Aquarium, 1924. “Exhibitions,” Bulletin of the Art Institute of Chicago 44, no. 3 (Sept. 15, 1950), p. 57, as Woman before an Aquarium, early 1920s. Museum of Modern Art, Henri Matisse, exh. cat., introduction by Alfred H. Barr, Jr. (Museum of Modern Art, New York, 1951), pp. 7; 10, cat. 54, as Woman before an Aquarium, (1921). Alfred H. Barr, Jr., Matisse: His Art and His Public (Museum of Modern Art, New York, 1951), pp. 164, 209–10, 436 (ill.), 558, as Woman before an Aquarium (Femme et poissons rouges), Nice (1921) and Woman before an Aquarium, 1921. Art Institute of Chicago, Masterpieces in the Art Institute of Chicago (Art Institute of Chicago, 1952), n. pag. (ill.), as Woman Before an Aquarium. Frederick A. Sweet, “Henri Matisse,” Art Institute of Chicago Quarterly 46, no. 2 (Apr. 1, 1952), p. 35 (ill.), as Woman Before an Aquarium. Gaston Diehl, Henri Matisse, with notices by Agnès Humbert (Éditions Pierre Tisné, 1954), pl. 91; p. 143, no. 91, as Femme et poissons rouges, 1921. Henri Matisse, Portraits (André Sauret, 1954), pp. 127 (ill.), [152], as Mlle. H. D. Femme devant un aquarium, Nice, 1921. Translated as Portraits (André Sauret, 1955), pp. 127 (ill.), [152], as Mlle H. D. Woman Before [sic] an Aquarium, Nice, 1921. Musée national d’art moderne, Rétrospective Henri Matisse, exh. cat., essay by Jean Cassou (Éditions desmusées nationaux, 1956), pp. 28, cat. 63; pl. 24, as Femme devant un Aquarium, 1921. Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961, repr., 1968), pp. 305, 475 (ill.), as Woman Before an Aquarium, 1921. Frederick Brill, Matisse, Colour Library of Art (Paul Hamlyn, 1967) p. 37; pl. 26, as Woman and Goldfish, 1921. Jean Guichard-Meili, Matisse (Frederick A. Praeger, 1967), p. 231, as Woman before an Aquarium. Kenjirō Okamoto, Bonnard/Matisse, L’art du monde16 (Kawade Shobō, 1968), n. pag.; pp. [59], pl. 55; 112, no. 55, as On;na to kingyo [Woman and Goldfish]/Femme et poissons rouges, 1921. Louis Aragon, Henri Matisse, roman, vol. 2 (Éditions Gallimard, 1971), pp. 109; 111, pl. XX; 360, no. XX, as Femme et poissons rouges and Femme et poissons rouges ouJ eune femme à l’aquarium, 1923. Translated by Jean Stewart as Henri Matisse: A Novel, vol. 2 (Helen and Kurt Wolff/Harcourt Brace Jovanovich, 1972), pp. 109; 111, fig. XX; 360, no. XX, as Woman before an Aquarium and Woman before an Aquarium (Femme et poisons rouges or Jeune femme à l’aquarium), 1923. Massimo Carrà, “Catalogo delle opera,” in Mario Luzi and Massimo Carrà, L’opera di Matisse: Dalla rivolta ‘fauve’ all’intimismo, 1904–1928, Classici dell’Arte 49 (Rizzoli Editore, 1971), p. 100, cat. 337 (ill.), as Donna e pesci rossi, 1921. Translated as “Documentation: Catalogue des œuvres,” in Tout l’œuvre peint de Matisse, 1904–1928, ed. Xavier Deryng, Les Classiques de l’Art (Flammarion, 1982), p. 100, cat. 337 (ill.), as Femme devant un aquarium, 1921. John Jacobus, Henri Matisse, Library of Great Painters (Harry N. Abrams, 1973), p. 168, as Woman with Aquarium, 1921. Theodore Reff, “Matisse: Meditations on a Statuette and Goldfish,” Arts Magazine 51, no. 3 (Nov. 1976), pp. 113; 114, fig. 19, as Woman before an Aquarium, 1921. Violette de Mazia, “What’s in a Frame?” Barnes Foundation Journal of the Art Department 8, no. 2 (Autumn 1977), p. 53, n.; pl. 146, as Woman Before an Aquarium, 1923. N. Kosareva, “Notes on the Plates: 60,” trans. Iu. Nemetsky and I. Vlader, in Hermitage State Museum and Pushkin State Museum of Fine Arts, Henri Matisse: Paintings and Sculptures in Soviet Museums (Aurora Art Publishers, 1978), p. 190 (ill.), as Woman and Goldfish or Young Woman by the Fishbowl, 1921. Lawrence Gowing, Matisse (Thames & Hudson, 1979), pp. 155, fig. 139; 210, no. 139, as Femme et poissons rouges and Femme et poissons rouges (Woman before an Aquarium), 1921. A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), pp. 14; 55, no. 2F12; microfiche 2, no. F12 (ill.), as Woman Before an Aquarium, 1923 and 1921–23. Kate Linker, “Meditations on a Goldfish Bowl: Autonomy and Analogy in Matisse,” Artforum 19, no. 2 (Oct. 1980) p. 73, n. 5, as Woman Before an Aquarium, 1921. Pierre Schneider, Matisse (Flammarion, 1984), pp. 420, 501 (ill.), 513, as Femme aux poissons rouges and Femme et Poissons rouges, 1921 and 1923. “The Helen Birch Bartlett Memorial Collection,” special issue, Art Institute of Chicago Museum Studies 12, no. 2 (1986), p. 223, no. 17, as Woman Before an Aquarium, 1923. Catherine C. Bock, “Woman Before an Aquarium and Woman on a Rose Divan: Matisse in the Helen Birch Bartlett Memorial Collection,” in “The Helen Birch Bartlett Memorial Collection,” special issue, Art Institute of Chicago Museum Studies 12, no. 2 (1986), pp. 200, fig. 1; 201; 202, 204; 205; 206–07; 211; 213; 218; 219–20, nn. 10, 19, as Woman Before an Aquarium, 1923. Richard R. Brettell, “The Bartletts and the Grande Jatte: Collecting Modern Painting in the 1920s,” in “The Helen Birch Bartlett Memorial Collection,” special issue, Art Institute of Chicago Museum Studies 12, no 2 (1986), p. 106, as Woman Before an Aquarium. Jack Cowart and Dominique Fourcade, “Album of Colorplates” and “Concordance,” in Henri Matisse: The Early Years in Nice, 1916–1930, exh. cat. (National Gallery of Art, Washington, DC/Harry N. Abrams, 1986), pp. 166, pl. 119;334, as Femme devant un aquarium, 1923. Jean Guichard-Meili, Matisse (Éditions Aimery Somogy, 1986), p. 129, as Femme devant un aquarium, 1921. Margrit Hahnloser-Ingold, “Collecting Matisses of the 1920s in the 1920s,” in Jack Cowart and Dominique Fourcade, Henri Matisse: The Early Years in Nice, 1916–1930, exh. cat. (National Gallery of Art/Washington, DC/Harry N. Abrams, 1986), p. 257, as Femme devant un aquarium, c. 1923. Jacqueline Guillaud and Maurice Guillaud, Matisse: Le rythme et la ligne (Guillaud Éditions, 1987), pp. 150, nos. 153, 154; [156] (detail); [157], fig. 154, as Femme devant un aquarium, 1921. Translated as Matisse: Rhythm and Line (Clarkson N. Potter, 1987), pp. 150, nos. 153, 154; [156] (detail); [157], fig. 154, as Woman Before an Aquarium, 1921. Kenneth E. Silver, “Matisse’s Retour à l’ordre,” Art in America 75, no. 6 (June 1987), p. 122, as Woman Before an Aquarium, 1923. Jack Flam, ed., Matisse: A Retrospective (Hugh Lauter Levin Associates, 1988), p. 235, pl. 74, as Woman Before an Aquarium, 1923. James N. Wood and Katharine C. Lee, Master Paintings in the Art Institute of Chicago (Art Institute of Chicago, 1988), pp. 8, 129 (ill.), as Woman before an Aquarium, 1921–23. Giles Néret, Matisse (Nouvelles Éditions Français/Casterman, 1991), pp. 142; 143, fig. 222; 269, as Femme et poissons rouges, 1921. John Elderfield with Beatrice Kernan, “Plates and Chronology,” in John Elderfield, Henri Matisse: A Retrospective, exh. cat. (Museum of Modern Art, New York, 1992), pp. 296; 329, pl. 255, as Woman Before an Aquarium/Femme devant un aquarium, Nice, place Charles-Félix, [late1921 or 1923]. Jack Flam, “Les sujets de Matisse: Thèmes et variations,” in Xavier Girard et al., Matisse aujourd’hui, Cahiers Henri Matisse 5 (Musée Matisse, 1992), pp. 96 (ill.), 108, as Femme devant un aquarium, 1921 and Femme devant un aquarium, 1923. Sarah Wilson, Matisse (Rizzoli, 1992), pp. [86], fig. 102; 127, no. 102, as Woman with an Aquarium, 1921. Dokuho suru iro to katachi [Color and Form: 20th Century I], Meiga e no tabi [Journey into the Masterpieces] 22 (Kodansha, 1993), pp. 49, pl. 2-28; 145, no. 2-28, as Kingyobachi no mae no on'na [Woman in front of a fishbowl]/Woman before an Aquarium, 1921. Brooks Adams, “Matisse, Belgian Symbolist,” in Brooks Adams et al., “Matisse: A Symposium,” Art in America 81, 5 (May 1993), p. 78, as Woman Before an Aquarium, 1921 or 1923.  Renée Manfredi, Where Love Leaves Us (University of Iowa Press, 1994), front jacket cover (ill.), back inside flap, as Woman Before an Aquarium, 1921. Frank Milner, Henri Matisse (Bison Books, 1994), pp. 98–99 (ill.), as Woman before an Aquarium, 1921–23. Guy-Patrice Dauberville and Michel Dauberville, Matisse: Henri Matisse chez Bernheim-Jeune, vol. 2 (Éditions Bernheim-Jeune, 1995), pp. 1064, cat. 515; 1065 (ill.); 1440; 1460; 1465, as Jeune fille à l’aquarium, 1923. Catherine C. Bock-Weiss, Henri Matisse: A Guide to Research, Artist Resource Manuals 1, ed. Wolfgang M. Freitag, Garland Reference Library of the Humanities 1424 (Garland Publishing, 1996), pp. 313–14, nos. 973–77; 678; 690, as Woman Before an Aquarium, Femme devant un aquarium (Woman Before an Aquarium), Woman Before an Aquarium (Femme devant un aquarium), 1923. Charles Harrison, Modernism, Movements in Modern Art (Tate Gallery/Cambridge University Press, 1997), pp. 64–65, fig. 51, as Woman before an Aquarium, 1921–3. Susan A. Sternau, Henri Matisse (Todtri, 1997), p. 103 (ill.), as Woman Before an Aquarium, 1923. “Katalog,” in Max Beckmann und Paris: Matisse, Picasso, Braque, Léger, Rouault, exh. cat., ed. Tobia Bezzola and Cornelia Homburg (Saint Louis Art Museum/Kunsthaus Zürich/Taschen, 1998), p. 234, cat. 83, as Frau vor einem Aquarium/“Femme devant un aquarium,” 1921/23. Translated as “Catalogue,” in Max Beckmann und Paris: Matisse, Picasso, Braque, Léger, Rouault, exh. cat., ed. Tobia Bezzola and Cornelia Homburg (Saint Louis Art Museum/Kunsthaus Zürich/Taschen, 1998), p. 233, cat. 83, as Woman Before a Fish Bowl, 1921/23. Ingrid Schaffner, The Essential Henri Matisse, Essential Series (Wonderland Press/Harry N. Abrams, 1998), pp. 6, 7 (ill.), as Woman Before an Aquarium, 1921. Carla Schulz-Hoffmann, “Beckmann, Matisse, und Léger,” in Max Beckmann und Paris: Matisse, Picasso, Braque, Léger, Rouault, exh. cat., ed. Tobia Bezzola and Cornelia Homburg (Saint Louis Art Museum/Kunsthaus Zürich/Taschen, 1998), p. 103, no. 83 (ill.), as Frau vor einem Aquarium, 1921/23. Translated by Ishbel Flettas “Beckmann, Matisse, and Léger,” in Max Beckmann and Paris: Matisse, Picasso, Braque, Léger, Rouault, exh. cat., ed. Tobia Bezzola and Cornelia Homburg (Saint Louis Art Museum/Kunsthaus Zürich/Taschen, 1998), p. 103, no. 83 (ill.), as Woman Before a Fish Bowl, 1921/23. John O’Brian, Ruthless Hedonism: The American Reception of Matisse (University of Chicago Press, 1999), p. 188, as Woman Before an Aquarium, 1923. Michael Lobel, Image Duplicator: Roy Lichtenstein and the Emergence of Pop Art (Yale University Press, 2002), pp. 136; 137, fig. 87; 138, as Woman Before an Aquarium, 1921. Judith A. Stanford, Responding to Literature: Stories, Poems, Plays, and Essays, 4th ed. (McGraw Hill, 2003), pp. ix, color section 10 (ill.), as Woman before an Aquarium, 1921. Charles Harrison, “Chapter 4: Bonnard and Matisse: Expression and Emotion,” in Art of the Avant-Gardes, ed. Steve Edwards and Paul Wood, Art of the 20th Century (Yale University Press/Open University, 2004), pp. 128; 129, pl. 4.18; 130, as Woman before an Aquarium, 1921. “Verzeichnis der Werke,” in Henri Matisse: Figur, Farbe, Raum, exh. cat., ed. Pia Müller-Tamm (K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 2005), p. 369, cat. 115, as Femme devant un aquarium/Frau mit Goldfischen, 1921–1923. Jack Flam, “Goldfish” in Dorthe Aagesen et al., Matisse Masterpieces at Statens Museum for Kunst (Statens Museum for Kunst, 2005), pp. 179–80; 183, n. 32, as [no title] 1923. Charles Harrison, Painting the Difference: Sex and Spectator in Modern Art (University of Chicago Press, 2005), pp. viii, no. 136; 182 (detail); 191; 192, fig. 136, as Woman with a Goldfish Bowl, 1923. Melanie Horst, “Gemälde, Plastiken, Zeichnungen, Grafiken, Papierschnitte: Verschränkungen,” in Henri Matisse: Figur, Farbe, Raum, exh. cat., ed. Pia Müller-Tamm (K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 2005), pp. 200, 201 (ill.), as Femme devant un aquarium/Frau mit Goldfischen, 1921–23. Pia Müller-Tamm, “Henri Matisse: Figur, Farbe, Raum,” in Henri Matisse: Figur, Farbe, Raum, exh. cat., ed. Pia Müller-Tamm (K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 2005), pp. 36, fig. 22; 37; 38, as Femme devant un aquarium/Frau mit Goldfischen, 1921–1923. “Calendar Highlights: Unknown Matisse,” Art Institute of Chicago News and Events (Jan./Feb. 2005), p. 19, as Woman before an Aquarium, 1921–23. Patricia Hampl, Blue Arabesque: A Search for the Sublime (Harcourt, 2006), pp. 2, 3–6, 7, 12, 13–17, 22, 99, 113, as Femme et poissons rouges and Woman Before an Aquarium, 1921. Kathryn Harrison, “Hammered by Art: Patricia Hampl Seeks Out Painting that Jolts Viewers into Curiosity and Craving,” New York Times Book Review, Oct. 29, 2006, p. 16 (ill.), as Woman Before an Aquarium. Anabelle Kienle, Max Beckmann in Amerika (Michael Imhof Verlag, 2008), pp. 94, fig. 40; 95; 172, n. 613, as Frau vor einem Aquarium, 1921/23. Dorothy Lichtenstein and Jeff Koons, “Conversation,” in Lichtenstein Girls, exh. cat. (Gagosian Gallery, 2008), pp. 11 (ill.), [93], as Woman Before an Aquarium, 1921–23. Jason Andrew, “Ford + Biala: A Long and Passionate Dialogue,” Ford Madox Ford and Visual Culture, ed. Laura Colombino, International Ford Madox Ford Studies 8 (Editions Rodopi/Ford Madox Ford Society, 2009), pp. 12, no. 40; pl. 40, as Woman before an Aquarium, 1921–23. Catherine Bock-Weiss, Henri Matisse: Modernist Against the Grain (Pennsylvania State University Press, 2009), pp. ix, no. 4; xiii; 6; pl. 4; 83–84; 86–88; 91–92; 98; 172; 190, n. 1; 191, n. 10; 192, n. 19, as Woman Before an Aquarium, 1921–23. Stephanie D’Alessandro and John Elderfield, “Coda: The Experiment Remembered,” in Stephanie D’Alessandro and John Elderfield, Matisse: Radical Invention, 1913–1917, exh. cat. (Art Institute of Chicago/Museum of Modern Art, New York/Yale University Press, 2010), p. 350, fig. 1, as Woman Before an Aquarium, late 1921 or 1923. Stephanie D’Alessandro, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, with contributions by Renée DeVoe Mertz, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2013), pp. 13, 73, 75 (ill.), as Woman before an Aquarium, 1921–23. Stephanie D’Alessandro, with contributions by Renée DeVoe Mertz, The Age of Picasso and Matisse: Modern Art at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2014), pp. 11 (ill.), 73, 75 (ill.), as Woman before an Aquarium, 1921–23. “Woman before an Aquarium,” in Matisse Paintings, Works on Paper, Sculpture, and Textiles at the Art Institute of Chicago, ed. Stephanie D’Alessandro (Chicago: Art Institute of Chicago, 2019), cat. 34, https://publications.artic.edu/matisse/reader/works/section/71/71_anchor.