Odalisque

Memphis, Tennessee, Dixon Gallery and Gardens, Scent and Symbolism: Perfumed Objects and Images, April 9-July 2, 2017, cat 191.

Art Institute of Chicago, Annual Report 1983–84 (Chicago: Art Institute of Chicago, 1984), p. 45. Richard R. Brettell, French Salon Artists 1800–1900 (Chicago: Art Institute of Chicago, 1987), pp. 99–100 (ill.), 119. Hollis Clayson, Painted Love: Prostitution in French Art of the Impressionist Era (New Haven and London: Yale University Press, 1991), pp. 51–53, fig. 30; reprint (Los Angeles: Getty Research Institute, 2013). Stephanie Holt, “Chloe: A Curious History,” (Ph.D diss, University of Melbourne, 1992), pp. 4–6. Stephanie Holt, “Chloe: A Curious History,” in Jeanette Hoorn, ed., Strange Women: Essays in Art and Gender (Carlton, Victoria: Melbourn University Press, 1994), pp. 118–120, pl. 20. Ruth Bernard Yeazell, Harems of the Mind: Passages of Western Art and Literature (New Haven and London: Yale University Press, 2000), p. 25, fig. 2. Shalon Detrice Parker, “A Tradition Gone Awry: The Salon Nude in Fin-de-siècle France” (Ph.D diss, University of California, Berkeley, 2003), pp. 41–3, 228, fig. 17. Shalon Detrice Parker, “‘With a Sincere Spirit and Deep Conviction”: Lefebvre’s Lady Godiva and Salon Artistic Culture in Fin-de-Siècle France,” Southeastern College Art Conference Review 15, 4 (2009), pp. 422–23, fig. 3. Allison Lee Palmer, Historical Dictionary of Romantic Art and Architecture (Lanham, Maryland: Scarecrow Press, 2011), p. 143.