The Bathers

Exhibited at London, French Gallery, 1884–85. Toledo Museum of Art, The Spirit of Modern France 1745–1946, November–December 1946, cat. 40; traveled to Toronto Art Gallery, January–February 1947. Colorado Springs Fine Arts Center, Gay Nineties Exhibition, Fall 1950. Miami Art Center, The Artist and the Sea, March 21–April 18, 1969, cat. 6. Paris, Musée du Petit Palais, William Bouguereau 1825–1905, February 9–May 6, 1984, cat. 112; traveled to Montreal Museum of Fine Arts, June 22–September 23, 1984; Hartford, Wadsworth Atheneum, October 27, 1984–January 13, 1985.

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Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1914), p. 125, no. 186. “Notes,” Bulletin of the Art Institute of Chicago 8, 2 (1914), p. 22. Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture and Architecture (Chicago: Art Institute of Chicago, 1917), p. 125, no. 186. Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago: Art Institute of Chicago, 1920), p. 29, no. 186. Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago: Art Institute of Chicago, 1922), p. 29, no. 186. Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago: Art Institute of Chicago, 1923), p. 29, no. 186. Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1925), p. 128, no. 186. Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), p. 143. Charles Fabens Kelley, “Chicago: Record years,” Art News 51, 4 (1952), p. 62 (ill.). Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), p. 30. Barbara Ehrlich White, “The Bathers of 1887 and Renoir’s Anti-Impressionism,” The Art Bulletin 55, 1 (1973), pp. 121–22, fig. 28. Richard Shiff, “The End of Impressionism,” in Charles S. Moffett, et. al., The New Painting: Impressionism, 1874–1886, exh. cat. (San Francisco: Fine Arts Museums, 1986), p. 63, fig. 2. Laurier Lacroix, “Bouguereau, une question de sensibilité,” Vie des Arts 29, 115 (1984), p. 23 (ill.). Stefan Germer, “Pictures at an Exhibition,” Chicago History 16, 1 (1987), pp. 14–15 (ill.), 21. Charles Harrison, Essays on Art and Language (Oxford: Blackwell, 1991), p. 179, pl. 96. 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Charles Harrison, “Impresionismo, modernidad y originalidad,” in Francis Frascina, et. a., La modernidad y lo modern: pintura francesa en el siglo xix (Madrid: Akal, 1998), pp. 208–09, 211–12, fig. 191. Lukas Gloor and Marco Goldin, La Fondazione Collezione E. G. Bührle a Zurigo: Catalogo delle opera (Treviso: Linea d’ombra, 2003), p. 86 (ill.). Charles Harrison, Painting the Difference: Sex and Spectator in Modern Art (Chicago: University of Chicago Press, 2005), pp. 66-67, fig. 44. Linda Nochlin, Bathers, Bodies, Beauty: The Visceral Eye (Cambridge, Massachusetts: Harvard University Press, 2006), pp. 19, 21, fig. 4. Damien Bartoli, William Bouguereau: His Life and Works, vol. 1 (Woodbridge: Antique Collectors' Club, 2010), p. 305, pl. 176. Damien Bartoli, William Bouguereau: Catalogue Raisonné of his Painted Work, vol. 2 (Woodbridge: Antique Collectors' Club, 2010), p. 225, no. 1884/07, pl. 176. Al Gury, Color for Painters: A Guide to Traditions and Practice (New York: Watson-Guptill Publications, 2010), pp. 158–59,