L[ouis]. Clément de Ris. "Salon de 1853: Lettres à un ami, à Bruxelles. II, Les Paysagistes." L'Artiste, 5th ser., 10 (June 15, 1853), pp. 148–49, compares it unfavorably with Troyon and criticizes its summary treatment; observes the influence of Gericault's lithographs.
Édouard Houssaye. "Gravures du numéro." L'Artiste, 5th ser., 11 (August 15, 1853), p. 32, ill. opp. p. 32 (engraving by Veyrassat).
"Art in Continental States." Art-Journal (October 1, 1853), p. 262.
Frederic Henriet. Coup d'oeil sur le Salon de 1853. Paris, 1853, p. 18 [see Refs. Sterling and Salinger 1966, Watson 1983].
Horsin Déon. Rapport sur le Salon de 1853. Paris, 1853, pp. 12–13.
Henry de la Madelène. Le Salon de 1853. Paris, 1853, pp. 55–56 [see Ref. Sterling and Salinger 1966], states that it needs varnishing and seems unfinished in parts.
Claude Vignon. Salon de 1853. Paris, 1853, pp. 115–16, compares it to Gericault.
"Minor Topics of the Month." Art-Journal (August 1, 1855), p. 243, calls it "a wonderful work for any painter; but as the production of a female it is marvellous [sic] in conception and execution".
"French Exhibition." Times (July 18, 1855), p. 11, notes that this work was hung on July 17, 1855 in the Pall Mall Gallery, followed by a reception for the artist; remarks with wonder that "so masculine a work is the production of a feminine hand".
"French Gallery, Pall Mall." Morning Post (July 18, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, pp. 43–45].
"Rosa Bonheur's 'Horse Fair at Paris'." Daily News (July 19, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, pp. 45–47].
"Fine Arts Department." Illustrated London News (July 21, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, pp. 47–48].
"French School of the Fine Arts—Mdlle. Rosa Bonheur." Atlas (July 21, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, p. 48].
"French Exhibition of Painters, Pall Mall." Press (July 21, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, pp. 48–49].
"Madame de Bonheur's Conversazione." Morning Advertiser (July 23, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, pp. 49–50].
Guardian (July 25, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, pp. 50–51].
Daily News (July 26, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, pp. 51–54].
Court Journal (July 28, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, pp. 54–55].
"The Horse Fair." Sunday Times (July 29, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, p. 55].
"Fine-Art Gossip." Athenæum (August 4, 1855), pp. 905–6.
"Art and Artists: Rosa Bonheur." Critic 14 (August 1, 1855), p. 372.
"'The Horse Fair' in Paris." Examiner (August 11, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, pp. 59–61].
"The Exhibition of French Paintings, Pall Mall." Lady's Newspaper and Pictorial Times (August 11, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, pp. 61–62].
"The French Exhibition." Spectator (August 4, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, p. 62].
"Rosa Bonheur's 'Horse Fair'." Observer (August 19, 1855) [reprinted in Ref. Lepelle de Bois-Gallais 1857, pp. 62–64].
"Art in Continental States." Art-Journal (June 1, 1855), p. 193, notes that this work has been sold for Fr 40,000.
"Minor Topics of the Month." Art-Journal (April 1, 1856), p. 126, notes that it is presently on exhibit at the Royal Institution, Manchester "under the care of Messrs. Agnew & Son".
Anatole de la Forge. La Peinture contemporaine en France. Paris, 1856, pp. 334–35, laments its sale to England as a loss for the national art collections.
"Affairs in France." New York Daily Times (August 16, 1856), p. 2, reports that it was purchased in 1853 "by a Dutchman, who afterwards took it to England, where, it is said, he has realized eighty thousand dollars by its exhibition!".
"Minor Topics of the Month." Art-Journal (August 1, 1857), p. 262, notes that it is presently exhibited on Bond Street [at the German Gallery] along with the reduced copy painted by Bonheur for Thomas Landseer's use when making the engraving.
F. Lepelle de Bois-Gallais. Memoir of Mademoiselle Rosa Bonheur. New York, 1857, pp. 34–35, 41–64, reprints British reviews of the painting from its London exhibition in 1855.
"Rosa Bonheur's Horse Fair." New York Times (October 1, 1857), p. 4, describes this picture's exhibition at the Williams, Stevens, and Williams Gallery, New York, where a mirror was installed over it "at such an angle as to throw out the admirable perspective of the composition with singular force".
Eugène de Mirecourt. Rosa Bonheur. Paris, 1867, pp. 60–62, notes that the artist spent eighteen months on studies for this picture, during which time she visited the horse fair twice a week, dressed in male attire; states erroneously that the painting was sold to the French government, then retrieved by Bonheur and resold to Gambart.
M. de Saint-Santin. "J.-R. Brascassat." Gazette des beaux-arts 24 (June 1868), pp. 575–76.
"The Stewart Art Gallery." Harper's Weekly 23 (May 3, 1879), p. 350, ill. pp. 348–49 (wood engraving of the Stewart gallery, including this picture).
Cicerone. "Private Galleries: I. Collection of the Estate of Alexander Turney Stewart." Art Amateur 1 (June 1879), p. 6.
Cicerone. "Private Galleries: Collection of the Estate of Alexander Turney Stewart. II. The Meissoniers." Art Amateur 1 (July 1879), p. 29.
Cicerone. "Private Galleries: Collection of the Estate of Alexander Turney Stewart. III." Art Amateur (September 1879), p. 74, praises Bonheur's depiction of the horses in this picture compared to Meissonier's in "1807, Friedland" (MMA 87.20.1).
The Art Treasures of America. reprint, 1977. Philadelphia, , vol. 1, pp. 23, 25, 48, 52, ill. (engraving).
John Oldcastle. "An American Millionaire's Gallery." Art Journal, n.s., (1887), pp. 154–56, ill. (engraving of the Stewart gallery, including this picture).
Walter Rowlands. "Art Sales in America." Art Journal, n.s., (1887), p. 294, notes that it brought [the American equivalent of] £10,600 at the Stewart sale in 1887.
"Two Great Masterpieces: Meissonier and Bonheur Excite the Bidders." New York Times (March 26, 1887), p. 1, describes its purchase for $53,000 by Samuel P. Avery, acting as an agent for an unknown collector, at the Stewart auction.
"For the People to Enjoy: Rosa Bonheur's Great Work in the Art Museum." New York Times (March 27, 1887), p. 9, reports Vanderbilt's gift of this painting to the MMA.
É[mile]. Durand-Gréville. "La peinture aux États-Unis: les galeries privées (2e et dernier article)." Gazette des beaux-arts, 2nd ser., 36 (September 1887), p. 250.
"The New Pictures at The Metropolitan Museum." Harper's Weekly (May 14, 1887), p. ?.
Mrs. Schuyler van Rensselaer. "The Wolfe Collection at the Metropolitan Museum. I." Independent 39 (November 17, 1887), p. 6.
"The Fine Arts: Recent Gifts to the Metropolitan Museum." Critic (April 16, 1887), p. 193.
M[ariana]. G[riswold]. van Rensselaer. "Pictures of the Season in New York. III." American Architect and Building News 21 (April 23, 1887), p. 195.
"The Fine Arts: Further Gifts to the Metropolitan Museum." Critic (May 7, 1887), p. 232.
Montezuma [Montague Marks]. "My Note Book." Art Amateur 17 (June 1887), p. 3.
Montezuma [Montague Marks]. "My Note Book." Art Amateur 16 (May 1887), p. 122.
"Gallery and Studio: The Metropolitan Museum of Art." Art Amateur 18 (December 1887), p. 7.
Mrs. Schuyler van Rensselaer. "Fine Arts: Gifts to the Metropolitan Museum." Independent 39 (April 21, 1887), p. 6.
Clarence Cook. Art and Artists of Our Time. New York, 1888, vol. 1, pp. 254, 257–58, relates that Bonheur painted a reduced replica of this picture with some changes for Landseer's use in making the engraving, and that this replica was bequeathed by Jacob Bell to the National Gallery; notes that the National Gallery declined Bonheur's offer to replace their version with a second replica which she considered better.
René Peyrol. Rosa Bonheur: Her Life and Work. London, 1889, pp. 8–10, 25–26, ill. (frontispiece, etching by L. Flameng) [reprinted in Esther Singleton, ed., "Modern Paintings As Seen and Described by Great Writers," New York, 1911, pp. 169–74, ill.], notes that in preparation for this picture, Bonheur visited the horse market dressed as a man to avoid "the inconvenience and unpleasantness to which her costume as a lady would subject her"; states that Napoleon III wished to purchase it at the Salon but Bonheur rejected the offer as too low.
J.-K. Huysmans. Certains. Paris, 1889, p. 124.
Philip Gilbert Hamerton. The Present State of the Fine Arts in France. London, 1892, p. 19.
Cyclopedia of Painters and Paintings. New York, 1892, vol. 1, pp. 177–78.
John Durand. The Life and Times of A. B. Durand. New York, 1894, p. 193.
"The Metropolitan Museum of Art—The French Painters." New York Times (May 22, 1895), p. 4.
Catalogue of the Paintings in the Metropolitan Museum of Art. New York, 1898, pp. 186–87, no. 654.
"True History of Bonheur's 'Horse Fair'." New York Times (January 1, 1898), p. RBA6, publishes a letter from Gambart to Avery describing his purchase of this picture after Bonheur's offer to sell it to the town of Bordeaux for Fr 12,000 was refused; mentions the two replicas and a small watercolor of the picture.
"Louvre of Nations." New York Times (September 17, 1898), p. RBA618.
William Sharp. "The Art Treasures of America (Concluded.)." Living Age, 7th ser., 1 (December 3, 1898), pp. 605–6.
Arthur Hoeber. The Treasures of The Metropolitan Museum of Art of New York. New York, 1899, p. 79.
L[éon]. Roger-Milès. Rosa Bonheur: Sa vie – son oeuvre. Paris, 1900, pp. 50–53, 56, 59–60, 62, 65, 170, states that Queen Victoria requested a private viewing of this picture at Windsor Castle when it was exhibited in London in 1855; relates that Nathalie Micas executed much of the National Gallery replica because Bonheur had been pressed for time to complete it for the engraver; notes that the second replica [see Notes] was mostly created by Bonheur, with her sister Juliette only preparing the main outlines.
Masters in Art: Rosa Bonheur 4 (1903), pp. 321–22, 327, 331–33, pl. II.
Frank Hird. Rosa Bonheur. London, 1904, pp. 25, 27–28, 31, 44, 47, 59, 70–77, 79, 81–83, 86, lists five versions of the picture: our original, the two replicas, the watercolor (private collection, Middlesbrough), and a drawing made after a photograph (then in Gambart's collection).
John Ruskin. The Works of John Ruskin. 14, London, 1904, p. 173 n. 1, p. 174, criticizes the artist for avoiding the painting of faces in this picture.
Théodore Guédy. Manuel pratique du collectioneur de tableaux comprenant les principales ventes des XVIII, XIX siècles jusqu'à nos jours... Paris, , p. 20.
Georges Riat. Gustave Courbet peintre. Paris, 1906, p. 104.
Anna Klumpke. Rosa Bonheur: Sa vie, son oeuvre. Paris, 1908, pp. 1, 18, 110, 217–32, 243, 267–68, 324, 368, 382, 414, 424, 432, ill. between pp. 226 and 227 [English ed., "Rosa Bonheur: The Artist's (Auto)biography," Ann Arbor, 1997, pp. xi–xii, 5, 13, 69, 147–53, 162, 175–76, 213, 217, 236, 243, 260, 276], adopts the "voice" of the artist to recount the early history of this painting and recalls her inspiration to interpret, not imitate, the Parthenon friezes; relates that after reviewing studies for this picture and "Haymaking" (1855; Musée National du Château, Fontainebleau), the French Minister of Fine Arts commissioned the latter, asserting that Bonheur was not experienced enough in painting horses, but then unsuccessfully attempted to substitute "The Horse Fair" after its critical acclaim in 1853; cites the proposed sale price to the town of Bordeaux as Fr 15,000.
[François Crastre]. Rosa Bonheur. Paris, , pp. 39–43.
Muriel Ciolkowska. "Rosa Bonheur's Centenary." International Studio 75 (August 1922), pp. 367, 369–70, ill. p. 371.
Harry B. Wehle. "Seventy-Five Years Ago." Metropolitan Museum of Art Bulletin 4 (April 1946), p. 202.
Albert Ten Eyck Gardner. "The Taste of the Seventies." Metropolitan Museum of Art Bulletin 4 (April 1946), ill. pp. 196, 199 (installation photos).
Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 6, ill. p. 49.
Charles Sterling and Margaretta M. Salinger. "XIX Century." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 2, New York, 1966, pp. 160–64, ill., note that the Paris horse market was held on the Boulevard de l'Hôpital, near the asylum of Salpêtrière; suggest that the inscribed date indicates that Bonheur retouched the painting in response to criticism of the ground, trees, and sky when it was exhibited at the 1853 Salon.
Martin Davies with additions and some revisions by Cecil Gould in French School: Early 19th Century, Impressionists, Post-Impressionists, etc. London, 1970, pp. 10–11, under no. 621, notes that the artist obtained a "permission de travestissement" from the police in order to wear male attire when preparing this picture at the horse market; states that Walter Goodall prepared the watercolor copy; mentions several painted studies and drawings besides the five finished versions.
François Duret-Robert Preface by René Huyghe in L'Impressionnisme. [Paris], 1971, p. 302.
John Rewald. "Should Hoving Be De-accessioned?" Art in America 61 (January–February 1973), p. 28.
Eleanor Tufts. Our Hidden Heritage: Five Centuries of Women Artists. New York, 1974, pp. 148–49, fig. 84.
Carl R. Baldwin The Metropolitan Museum of Art. The Impressionist Epoch. [New York], 1974, p. 25.
Jeremy Maas. Gambart: Prince of the Victorian Art World. London, 1975, pp. 73–76, 79–80, 92–94, 104, 132, 158–61, 176, 181–82, ill. opp. p. 97, tells of Gambart's dealings with this painting, its exhibition in England, and the replicas and engravings made after it.
Jay E. Cantor. "A Monument of Trade: A. T. Stewart and the Rise of the Millionaire's Mansion in New York." Winterthur Portfolio 10 (1975), p. 188, fig. 22 (installation photo).
Rae Becker in Ann Sutherland Harris and Linda Nochlin. Women Artists: 1550–1950. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 1976, pp. 11, 224, fig. 32, states that a study of horses by Gericault was in Bonheur's studio when she painted "The Horse Fair".
Frederick Baekeland. "Collectors of American Painting, 1813 to 1913." American Art Review 3 (November–December 1976), p. 136.
Reminiscences of Rosa Bonheur. reprint ed. (1st ed., 1910). New York, 1976, pp. 30, 42, 124–25, 139, 221, 294, 314, 363, 378–85, 387, 404, ill. on title page, publishes recollections of Bonheur written by her contemporaries.
Denys Sutton in Paris—New York: A Continuing Romance. Exh. cat., Wildenstein. New York, 1977, p. 18, pl. V.
Hélène Toussaint. Gustave Courbet, 1819–1877. Exh. cat., Royal Academy of Arts. [London], 1978, p. 104 [French ed., 1977, p. 117].
Lois Marie Fink. "French Art in the United States, 1850–1870: Three Dealers and Collectors." Gazette des beaux-arts, 6th ser., 92 (September 1978), pp. 88, 95, fig. 1.
Paul Spencer-Longhurst. "Art and Artists under the Second Empire." Connoisseur 199 (December 1978), p. 276, fig. 8.
Donna G. Bachmann and Sherry Piland. Women Artists: An Historical, Contemporary and Feminist Bibliography. Metuchen, N.J., 1978, pp. 150–51, ill.
Fine Eighteenth, Nineteenth and Twentieth Century European Paintings and Works of Islamic Interest. Sotheby's, London. April 19, 1978, unpaginated, under no. 163, publishes an unfinished version of our painting, hesitantly attributing it to Bonheur [see Ref. Pancoast 1991]; notes that this version was thought to have been commissioned from the artist by Commander Hill-Lowe of Shropshire, England.
James Harding. Artistes Pompiers: French Academic Art in the 19th Century. London, 1979, p. 29, erroneously states that Pierpont Morgan bought this picture and gave it to the MMA.
Alexandra R. Murphy in Corot to Braque: French Paintings from the Museum of Fine Arts, Boston. Exh. cat., Museum of Fine Arts, Boston. Boston, 1979, pp. xvii, xx, xxv.
Gabriel P. Weisberg. The Realist Tradition: French Painting and Drawing 1830–1900. Exh. cat., Cleveland Museum of Art. Cleveland, 1980, p. 270.
Danielle Digne. Rosa Bonheur ou l'insolence: L'Histoire d'une vie, 1822–1899. Paris, 1980, pp. 83, 86, 88, 90–95, 98, 105, 108, 147, 155, 160, 171, pl. 1.
Dore Ashton and Denise Browne Hare. Rosa Bonheur: A Life and a Legend. New York, 1981, pp. 82–97, 104, 106, 112–14, 135, 140, 144, 155, 159, 177-78, 185-86, 188, 192–94, ill., observe the direct influence of Gericault, particularly his print "Horses Going to a Fair"; agree with Sterling and Salinger's [Ref. 1966] suggestion that Bonheur retouched the ground, trees, and sky in 1855, and then extended the inscription.
Albert Boime. "The Case of Rosa Bonheur: Why Should a Woman Want to Be More Like a Man?" Art History 4 (December 1981), pp. 397, 405, pl. 29, remarks that preliminary studies reveal that Bonheur focused on the horses and "stuck in the human figures wherever there was space".
Mary Ann Tighe. "Portrait of an Artist." New York Times (May 24, 1981), p. BR15.
William R. Johnston. The Nineteenth Century Paintings in the Walters Art Gallery. Baltimore, 1982, p. 87.
Rosalia Shriver. Rosa Bonheur: With a Checklist of Works in American Collections. Philadelphia, 1982, pp. 29, 31–33, 37, 56, ill. p. 90, notes that in addition to the horse market, Bonheur studied the workhorses at the Paris Omnibus Company; remarks that this picture was the largest executed by any animal painter.
Albert Boime. "The Second Empire's Official Realism." The European Realist Tradition. Bloomington, 1982, p. 97, notes that the Percheron horses depicted here were a native French breed from Normandy and were "thus identified with a highly conservative region and carried national and patriotic associations," adding that this picture "therefore glorified the Second Empire"; observes that conservative critics embraced it as an alternative to Courbet's realism.
Richard Alan Watson. "A Study of Rosa Bonheur's The Horse Fair." Master's thesis, Southern Methodist University, 1983, pp. iv, 1–4, 21, 32–33, 35–37, 40–82, 98–101, fig. 1, mentions Gericault's painting "The Start of the Race of the Barberi Horses" (1817; Musée du Louvre, Paris) as a source for this picture; notes that Bonheur's uncompleted "Wheat Threshing in the Camargue" (1864; Musée National de Château de Fontainebleau) was intended as a companion piece; records four replicas: the first by Bonheur and Micas (National Gallery, London), the second begun by Juliette Bonheur (unknown location), the third, measuring 19 x 35 inches (collection Dr. Karl Lowenstein), and the fourth, commissioned by Commander Hill-Lowe (sold Sotheby's, London; now private collection, Baton Rouge); places it in a broader social and artistic context, calling it the artist's "romantic interpretation of the energy and frenzy of the new urban society".
Carol Troyen. "Innocents Abroad: American Painters at the 1867 Exposition Universelle, Paris." American Art Journal 16 (Autumn 1984), pp. 19–20, fig. 18 (installation photo).
John Pope-Hennessy. "Roger Fry and The Metropolitan Museum of Art." Oxford, China, and Italy: Writings in Honour of Sir Harold Acton on his Eightieth Birthday. London, 1984, p. 231.
Maureen C. O'Brien in Maureen C. O'Brien. In Support of Liberty: European Paintings at the 1883 Pedestal Fund Art Loan Exhibition. Exh. cat., Parrish Art Museum. Southampton, N.Y., 1986, pp. 32, 49 n. 18, p. 134, under no. 6.
John Milner. The Studios of Paris: The Capital of Art in the Late Nineteenth Century. New Haven, 1988, p. 71.
Walter Liedtke. The Royal Horse and Rider: Painting, Sculpture, and Horsemanship, 1500–1800. New York, 1989, pp. 85, 323, pl. 212 (detail), erroneously refers to the National Gallery replica as the original.
Anne Henderson and Zoë Urbanek. Rosa Bonheur: Selected Works from American Collections. Exh. cat., Meadows Museum, Southern Methodist University. Dallas, 1989, unpaginated, reproduce a quarter-size replica of the picture (collection Mr. and Mrs. Jack Wheeler) as most likely the version painted by Bonheur with her sister, Juliette.
Anne Distel. Impressionism: The First Collectors. New York, 1990, p. 233.
Whitney Chadwick. Women, Art, and Society. London, 1990, pp. 180–81, colorpl. 93, mentions this picture's critical acclaim in the context of the 19th century animal rights movement and the role of women in Victorian England.
Virgilia Heimsath Pancoast. "Bonheur in Baton Rouge." IFARreports 12 (August–September 1991), pp. 2–4, locates the replica sold at Sotheby's in 1978 in a private collection, Baton Rouge, and attributes it to Bonheur.
Stephen N. Elias. Alexander T. Stewart: The Forgotten Merchant Prince. Westport, Conn., 1992, pp. 154–55, remarks that although the critics "pronounced the work too large for any private gallery" it hung in Stewart's mansion until his death; states erroneously that William Vanderbilt [Cornelius's son] purchased it at the Stewart sale.
James M. Saslow. "'Disagreeably Hidden': Construction and Constriction of the Lesbian Body in Rosa Bonheur's 'Horse Fair'." The Expanding Discourse: Feminism and Art History. New York, 1992, pp. 187, 189–94, 196–97, 200, 202, figs. 1, 2 (detail and overall), argues that the artist painted a self-portrait in the figure of the central horse tamer in this picture, attempting to "create an androgynous and proto-lesbian visual identity" and circumvent socially prescribed feminine ideals; suggests that the horses represent freedom from the constraint Bonheur experienced as a lesbian.
Tamar Garb. "Gender and Representation." Modernity and Modernism: French Painting in the Nineteenth Century. New Haven, 1993, pp. 233, 239, pl. 207, discusses it in terms of gender, sexuality, and representation.
Bethany Tarbell. "Rosa Bonheur's Menagerie." Art & Antiques 15 (November 1993), pp. 60, 63, ill. pp. 58–59 (color detail).
John House. "Exhibition Reviews, New York: The New Nineteenth-Century European Galleries at the Metropolitan Museum." Burlington Magazine 135 (December 1993), p. 856.
Whitney Chadwick. "The Fine Art of Gentling: Horses, Women and Rosa Bonheur in Victorian England." The Body Imaged: The Human Form and Visual Culture Since the Renaissance. Cambridge, 1993, pp. 89–96, 98–100, 107, 196 n. 3, pl. 19, describes how the Victorian interpretation of this picture "as an epic struggle, one in which man's battle to secure control over powerful beasts symbolised a more generalised contest aimed at asserting cultural domination over untamed nature" was complicated by the fact that the artist was a woman; observes that the taming of horses was widely understood as a metaphor for domesticating women's "animal natures".
19th Century European Paintings, Drawings and Sculpture. Sotheby's, New York. November 1, 1995, unpaginated, under no. 156, mentions it in a discussion of a copy then in a private collection, Tokyo.
John Fairley. The Art of the Horse. New York, 1995, pp. 141–42, colorpl. 90.
M. Sue Kendall in The Dictionary of Art. 29, New York, 1996, p. 651.
Heather McPherson in The Dictionary of Art. 4, New York, 1996, p. 318.
"Bonheur Panels, Gérôme Painting in Major Exhibitions." Dahesh Muse (Winter 1997), unpaginated, announces that the 1997 Bonheur retrospective in Bordeaux marks the first time that this picture was shown with the plaque made after the painting by Bonheur's brother, Isidore, for a monument to the artist in Fontainebleau
"Rosa Bonheur's Remarkable Art and Life is Celebrated in First International Retrospective." Dahesh Muse (Autumn 1997), unpaginated.
Francis Ribemont in Rosa Bonheur (1822–1899). Exh. cat., Galerie des Beaux-Arts. Bordeaux, 1997, pp. 9–11, 95, 128, 133, ill. on cover (color).
Bruno Foucart in Rosa Bonheur (1822–1899). Exh. cat., Galerie des Beaux-Arts. Bordeaux, 1997, pp. 14, 19.
Dominique Cante in Rosa Bonheur (1822–1899). Exh. cat., Galerie des Beaux-Arts. Bordeaux, 1997, pp. 28–29, 158, no. 12, ill.
Dominique Dussol in Rosa Bonheur (1822–1899). Exh. cat., Galerie des Beaux-Arts. Bordeaux, 1997, pp. 39–40, 45–47, ill. pp. 52–53 (color).
Gabriel Weisberg in Rosa Bonheur (1822–1899). Exh. cat., Galerie des Beaux-Arts. Bordeaux, 1997, pp. 56–70, asserts that the critical acceptance and successful marketing of this picture allowed Bonheur to gain independence from government patronage.
Annie-Paule Quinsac in Rosa Bonheur (1822–1899). Exh. cat., Galerie des Beaux-Arts. Bordeaux, 1997, p. 104.
Evelyne Helbronner in Rosa Bonheur (1822–1899). Exh. cat., Galerie des Beaux-Arts. Bordeaux, 1997, p. 113.
Bernard Denis in Rosa Bonheur (1822–1899). Exh. cat., Galerie des Beaux-Arts. Bordeaux, 1997, p. 150.
Elizabeth Martin and Vivian Meyer. Female Gazes: Seventy-Five Women Artists. Toronto, 1997, pp. 36–37, ill. (color).
Rebecca A. Rabinow. "Catharine Lorillard Wolfe: The First Woman Benefactor of the Metropolitan Museum." Apollo 147 (March 1998), p. 53.
Patricia Mainardi in Courbet: Artiste et promoteur de son oeuvre. Exh. cat., Musée cantonal des Beaux-Arts de Lausanne. Paris, 1998, p. 116, fig. 134.
Gabriel Weisberg in Rosa Bonheur: All Nature's Children. Exh. cat., Dahesh Museum. New York, 1998, pp. viii, xii–xiv, 1–4, 6–18, fig. 1.
Annie-Paule Quinsac in Rosa Bonheur: All Nature's Children. Exh. cat., Dahesh Museum. New York, 1998, p. 26.
Britta C. Dwyer in Rosa Bonheur: All Nature's Children. Exh. cat., Dahesh Museum. 1998, pp. 66, 68.
Cristina Portell in Rosa Bonheur: All Nature's Children. Exh. cat., Dahesh Museum. New York, 1998, pp. 90, 92.
Jean Strouse. Morgan: American Financier. New York, 1999, p. 273.
Lionel Lambourne. Victorian Painting. London, 1999, pp. 319–20, states that this picture was sent to Buckingham Palace on September 5, 1855 to be viewed by Queen Victoria, noting that although the Queen did not purchase it "she did command a letter to be sent expressing her admiration" [see Ref. Roger-Milès 1900].
Laurel Lampela. "Daring to Be Different: A Look at Three Lesbian Artists." Art Education 54 (March 2001), p. 48, ill. (overall and detail).
Hollis Clayson. Paris in Despair: Art and Everyday Life under Siege (1870–71). Chicago, 2002, pp. 285, 294, 298, 445 n. 26, agrees with Saslow's [Ref 1992] assertion that this picture includes a self-portrait.
Valérie Bajou. Courbet. Paris, 2003, p. 94.
Louise Lippincott and Andreas Blühm. Fierce Friends: Artists and Animals, 1750–1900. Exh. cat., Van Gogh Museum, Amsterdam. London, 2005, pp. 108–9, 140.
Neil Harris in The Clark Brothers Collect: Impressionist and Early Modern Paintings. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 2006, p. 221, notes that Sterling Clark enjoyed viewing this picture at the MMA, "proclaiming it 'one of the finest pictures in the museum,' long after the professional staff had recoiled from its presence in horror".
Petra ten-Doesschate Chu. Nineteenth-Century European Art. 2nd ed. Upper Saddle River, N.J., 2006, pp. 288–89, ill. p. 268 and fig. 12-24 (color, detail and overall).
Ross King. The Judgment of Paris: The Revolutionary Decade That Gave the World Impressionism. New York, 2006, pp. 241, 249, 369.
19th Century European Art. Sotheby's, New York. April 18, 2007, pp. 173–74, under no. 114.
Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, p. 9, figs. 5, 14 (installation photos, color and black and white).
Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. x, xvii, 68–69, 213, no. 63, ill. (overall and detail, color and black and white) and figs. 5, 14 (installation photos, color and black and white).
Sylvain Amic in Gustave Courbet. Exh. cat., The Metropolitan Museum of Art, New York. New York, 2008, p. 342 [French ed., Paris, 2007].