Wounded Eurydice

Paris, Durand-Ruel, Rétrospective de tableaux et dessins des maîtres modernes, 1878, no. 59.

his widow Mrs. Florence Lathrop Field

“Art Institute of Chicago: II – Modern Paintings: The Henry Field Collection,” Art Amateur 21, 1 (1894), p. 19.

Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1898), p, 91, no. 10.

“Drift of the Dog Days,” The Collector 4, 16 (1893), p. 247.

given to the Art Institute, 1894.

Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1895), p. 64, no. 10

“Chicago, ILL.: The Art Institute of Chicago,” in American Art Annual 1898 (London: Macmillan & Co., 1899), p. 140, no. 10.

Art Institute of Chicago, Paintings, Sculpture, and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1894), p. 55, no. 10.

Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1896), p. 71, no. 10.

Janis P. Stout, “‘The Nude Had Descended the Staircase’: Katherine Anne Porter Looks at Willa Cather Looking at Modern Art,” in Sarah Cheney Watson and Ann Moseley, eds., Willa Cather and Aestheticism: From Romanticism to Modernism (Madison: Fairleigh Dickinson University Press and Lanham, Maryland: Rowman & Littlefield, 2012), p. 160.

M. Therese Southgate, “About the Cover: Wounded Eurydice,” Journal of the American Medical Association 283, 22 (2000), p. 2899, cover ill.

Art Institute of Chicago, A Century of Progress, June 1–November 1, 1934, no. 172.

Art Institute of Chicago, A Century of Progress, June 1–November 1, 1933, no. 235.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), p. 147.

C. Bernheim de Villers, Corot: peintre de figures (Paris: Mm. Bernheim-Jeune, 1930), p. 59, no. 293 (ill).

Julius Meier-Graefe, Corot (Berlin: Bruno Cassirer and Klinkhardt & Biermann, 1930), pp. 90–91.

Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1925), p. 131, no. 110.

M. C., “Corots in the Art Institute,” Bulletin of the Art Institute of Chicago 18, 8 (1924), pp. 100 (ill.), 102.

Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago: Art Institute of Chicago, 1923), p. 22, no. 110.

Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago: Art Institute of Chicago, 1922), p. 22, no. 110.

Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago: Art Institute of Chicago, 1920), p. 22, no. 110.

Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture and Architecture (Chicago: Art Institute of Chicago, 1917), p. 117, no. 110.

Art Institute of Chicago, General Catalogue of Paintings, Sculpture and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1914), p. 117, no. 110.

Art Institute of Chicago, General Catalogue of Paintings, Sculpture and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1913), p. 113, no. 110.

August F. Jaccaci, “Figure Pieces of Corot in America: II,” Art in America 2, 1 (1913), pp. 6–11, fig. 3.

Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1910), p. 168, no. 110.

Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1907), p. 175, no. 110.

Maurice Hamel, Corot et son oeuvre (Paris: Manzi, Joyant & Cie, 1905), no. 60 (ill.).

Probably Alfred Sensier (died 1877), Paris [according to Robaut 1905]. Charles (?) Edwards, Paris, by 1878 [lent to Paris 1878]

Alfred Robaut, L’Oeuvre de Corot (Paris: H. Floury, 1905), no. 2001 (ill); reprinted (Paris: Léonce Laget, 1965).

Tavernier Collection, Paris [according to Robaut 1905, who states that it was acquired at the Edwards sale]. Henry Field (died 1890), Chicago

Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1904), p. 163, no. 110.

Frederick Clifton Pierce, Field Genealogy, vol. 2 (Chicago: Hammond Press, 1901), p. 711, no. 10.

Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1901), p. 158, no. 110.

Peter L. Schmunk, “Music and the Art of Corot,” Southeastern College Art Conference Review 13, 4 (1999), p. 361, n. 32.

Marcia Kay Stein, “Orphée, Eurydice et la vie contemporaine,” in Chiara Stefani, Vincent Pomarède, and Gérard de Wallens, Corot, un artiste et son temps (Paris: Klincksieck and Musée du Louvre and Rome: Académie de France à Rome, Villa Médicis, 1998), pp. 287–88, 295 no. 20, p. 302, fig. 7.

Tokyo, Seibu Museum of Art, Shikago Bijutsukan Insho-ha ten (The Impressionist Tradition: Masterpieces from the Art Institute of Chicago), October 18–December 17, 1985, no. 8; Fukuoka Art Museum, January 5–February 2, 1986; Kyoto Municipal Museum of Art, March 4–April 13, 1986.

John D. Morse, Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists (New York: Abbeville Press, 1979), p. 62.

Minneapolis Institute of Arts, European Paintings from the Minneapolis Institute of Arts (New York: Praeger Publishers, 1971), p. 207, under no. 107.

John Maxon, The Art Institute of Chicago (New York: Harry N. Abrams, 1970), p. 266 (ill.); reprinted (London: Thames and Hudson, 1977); (London: Thames and Hudson, 1987).

Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), pp. 86, 106.

Art Institute of Chicago, Corot, 1796–1875: An Exhibition of His Paintings and Graphic Works, October 6–November 13, 1960, no. 117.

Art Institute of Chicago, Annual Report of the Trustees for the Year Ending June 4, 1895 (Chicago: Art Institute of Chicago, 1895), p. 37, no. 10.