Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Florence de Mèredieu, André Masson: Les Dessins Automatiques (Geneva, 1988), p. 52, no. 59, as “L’Enfant Regardant un Dessin”.
Dawn Ades, with Margherita Andreotti and Adam Jolles, Surrealist Art: The Lindy and Edwin Bergman Collection at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1997), pp. 182-83, cat. 90 (color ill.).
Saint-Etienne, France, Musée d’Art et d’Industrie, “Cinquante ans de “Collages”: Papiers Collés, Assemblages, Collages, du Cubisme a nos Jours,” 1964, p. 25, cat. 119, as “Personannage”; also Paris, Museé d’Arts Decoratifs.
Chicago, Museum of Contemporary Art, “Fantastic Drawings,” 1967–1968, no cat.
New York, Museum of Modern Art, “André Masson,” June 2-Aug. 17, 1976, pp. 21-21 (ill.), as “Child Looking at a Drawing”; also Houston, Museum of Fine Arts, Oct. 17-Nov.28, 1976; and Paris, Galiers Nationales du Grand Palais, Mar. 5-May 2, 1977.
Chicago, Museum of Contemporary Art, “Dada and Surrealism in Chicago Collections,” 1984–1985, pp. 182-183, cat. 90 (ill.) as “Blue Personage/Child Looking at a Drawing”.
Art Institute of Chicago, “Joseph Cornell and Twentieth Century Collage,” Aug.-Nov. 1985.
Sold by Galerie Furstenberg (directed by Simone Collinet), Paris [label, verso], to Lindy and Edwin Bergman, Chicago, 1964; given to the Art Institute of Chicago, 1984.
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