The Bathers

• Art Institute of Chicago, Catalogue of Paintings, Sculpture, and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1894), p. 62, no. 124.
• Art Institute of Chicago, Twentieth Annual Report of the Trustees (Chicago: Art Institute of Chicago, 1899), p. 11.
• Charles Francis Browne, “The Permanent Collections in the Museum of the Art Institute of Chicago: VII. The Munger Collection,” Brush and Pencil 3, 1 (1898), pp. 2, 5–6, 8 (ill.).
• Marius Vachon, William Bouguereau (Paris: Lahure, 1900), p. 155.
• Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1901), p. 172, no. 186, ill.
• Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1904), p. 178, no. 186, ill.
• “Adolph William Bouguereau,” Sketch Book 5 (1905), ill. opposite p. 30.
• Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1907), p. 191, no. 186, ill.
• Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1910), p. 177, no. 186, ill.
• Art Institute of Chicago, The Collections Illustrated, with a Historical Sketch and Description of the Museum (Chicago: Art Institute of Chicago, 1910), p. 23, ill.
• H. Mireur, Dictionnaire des ventes d’art faites en France et à l’Etranger prendant les XVIIIme & XIXme siècles, vol. 1 (Paris: 1911), p. 415.
• Art Institute of Chicago, General Catalogue of Paintings, Sculpture, and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1913), p. 120, no. 186, ill.
• 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.
• Philip Yenawine, How to Look at Modern Art (New York: H. N. Abrams, 1991), pp. 28 (ill.), 29.
• Mark Steven Walker, “A Summary Catalogue of Paintings,” in Borghi & Co., William-Adolphe Bouguereau: l’art pompier, exh. cat. (Borghi & Co., New York, 1991), p. 72.
• Robert Rosenblum, Gregory Hedberg and Mark Steven Walker, William-Adolphe Bouguereau: L’Art pompier (New York: Borghi & Co., 1992), p. 82.
• Margherita Andreotti, “The Joseph Winterbotham Collection,” Art Institute of Chicago Museum Studies 20, 2 (1994), p. 116.
• Ruth Zubans, E. Phillips Fox: His Life and Art (Carlton, Victoria: Miegunyah Press, 1995), p. 21, 26, fig. 8.
• Fronia E. Wissman, Bouguereau (San Francisco: Pomegranate Artbooks, 1996), p. 86, pl. 55.
• Charles Harrison, “Cézanne: Fantasy and Imagination,” Modernism/Modernity 4, 3 (1997), p. 3, fig. 2. cover ill, detail.
• Charles Harrison, Modernism (Cambridge and New York: Cambridge University Press, 1997), p. 14, fig. 11.
• 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,

• 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.
• 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.

Sold by the artist to Goupil & Cie, Paris, October 17, 1884 [according to Goupil & Cie stock book no. 17185, Getty Research Institute, Los Angeles]; sold to Charles F. Haseltine, Philadelphia, August 4, 1885 for 36,000 francs [according to the stock book referenced above]; his sale, New York, 1886, for 100,450 francs [according to Mireur 1911]. Albert A. Munger (died 1898), Chicago, by 1894 [lent to the Art Institute, 1894]; bequeathed to the Art Institute, 1901.