Lady Reading the Letters of Heloise and Abelard

M.-C. Pahin de la Blancherie, Nouvelles de la République des letters et des arts (January 26, 1785), nos. 24–25: “M. Bernard, actuallment à Rome. Deux tableau: Une femme tient une colombe sur son sein; Une femme qui tient un livre et dans l’expression d’un sentiment tendre…; Du cabinet de M. L’Abbé de Véri” [quoted after Rosenberg and Bailey 2001, p. 207] Art Institute of Chicago, A Passion for Virtue: An Eighteenth-Century Masterpiece by Greuze, 1995, no cat., as Jean Baptiste Greuze. Hanover, New Hampshire, Hood Museum, Dartmouth College, Intimate Encounters: Love and Domesticity in Eighteenth-Century France, October 4, 1997-January 4, 1998, cat. 29, as Jean Baptiste Greuze; Toledo Museum of Art, February 15–May 10, 1998; Houston, Museum of Fine Arts, May 31 – August 23, 1998 (Toledo and Houston only). Paris, Musée Luxembourg, Fragonard amoureux (Fragonard in Love), September 16, 2015-January 24, 2016, cat. 60. Washington D.C., The National Gallery of Art, America Collects Eighteenth-Century French Painting, May 21 – August 20, 2017.

M.-C. Pahin de la Blancherie, Nouvelles de la République des letters et des arts (January 26, 1785), no. 25. Martha Wolff, “An Early Painting by Greuze and its Literary Associations,” Burlington Magazine 138 (1996), pp. 580–85, fig. 5. M[artha] W[olff] in Susan Wise and Malcolm Warner, French and British Paintings from 1600 to 1800 in The Art Institute of Chicago (Art Institute of Chicago/Princeton University Press, 1996), pp. 70-74, 71 (color ill.). Virginia E. Swain, "Hidden from View: French Women Authors and the Language of Rights, 1727-1792” in Intimate Encounters, Love and Domesticity in 18th-Century France, exh. cat., Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, pp. 26-27, 35, ill. p. 20. Katie Scott, “Intimate Encounters: Love and Domesticity in Eighteenth-century France,” Burlington Magazine 140 (1998), p. 334. Bernadette Fort, “Accessories and Desire: On Indecency in a Few Paintings by Jean Baptiste Greuze,” Yale French Studies 94 (1998), pp. 149, 150 (fig. 1). Mary Sherriff, “À rebours. Le problème de l’histoire dans l’interprétation fémininste,” in Régis Michel, Où en est l’interprétation de l’œuvre d’art? (Paris: École nationale supérieure des Beaux-Arts, 2000), pp. 205-33, fig. 1. Pierre Rosenberg and Colin B. Bailey, “Not Greuze, but Bernard d’Agesci,” Burlington Magazine 143 (2001), pp. 204–11, figs, 8, 9. Colin B. Bailey, Patriotic Taste: Collecting Modern Art in Pre-Revolutionary Paris (Yale University Press, 2002), p. 129, color ill. 115, p. 279 (n. 119). Mary D. Sheriff, Moved by Love: Inspired Artists and Deviant Women in Eighteenth Century France (University of Chicago Press, 2004), pp. 11-12, 202–40, 276-80, fig. 51. Christian Michel, "Nature and Moeurs: Thoughts on the Reception of Genre Painting in France" in French Genre Painting in the Eighteenth Century, Philip Conisbee, ed., Studies in the History of Art 72, Symposium Papers 49 (Washington, D.C., 2007), p. 279, fig. 4. R[ichard] R[and] in Philip Conisbee et al., The Collections of the National Gallery of Art, French Paintings of the Fifteenth through the Eighteenth Century, Washington, D.C., 2009, p. 163, fig. 5. Jackall, Yuriko et. al., America Collects Eighteenth-Century French Painting, Exh. cat. (National Gallery of Art/Lund Humphries), 198, 199, 213, 261, pl. 41