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.
Alfred H. Barr, Jr., “Appendix F: Works by Matisse in the Public Museums of English-Speaking Countries,” in Matisse: His Art and His Public (Museum of Modern Art, New York, 1951), p. 558, as Figure.
Robert Gathorne-Hardy, ed. Ottoline: The Early Memoirs of Lady Ottoline Morrell (Faber & Faber, 1963), p. 189.
Rémi Lebrusse, “Esthétique decorative et experience critique: Matisse, Byzance et la notion d’Orient,” vol. 1 (Ph.D. diss, Université de Paris I, Panthéon-Sorbonne, 1996), p. 155, n. 32, as Petit nu accroupi avec un bras, 1908.
Claude Duthuit and Wanda de Guébriant, Henri Matisse: Catalogue raisonné de l’oeuvre sculpté (C. Duthuit, 1997), p. 100, cat. 38, no. 2, as Petit Nu accroupi avec un bras/Petit Nu accroupi sans bras droit/Petit Nu accroupi, bras droit cassé/Small Crouching Nude without an Arm, 1908 (cast before 1936).
Robert S. Nelson, “The Art Collecting of Emily Crane Chadbourne and the Absence of Byzantine Art in Chicago,” in To Inspire and Instruct: A History of Medieval Art in Midwestern Museums, ed. Christina Nielsen (Cambridge Scholars Publishing, 2008), p. 134.
Stephanie D’Alessandro and John Elderfield, Matisse: Radical Invention, 1913–1917, exh. cat. (Art Institute of Chicago/Yale University Press, 2010), pp. 67; 68, cat. 3d (ill.), as Small Crouching Nude without an Arm, 1908.
The artist; sold to Emily Crane Chadbourne (Mar. 4, 1871–Dec. 23, 1964), Paris, London, Washington, DC, and Stone Ridge, NY, Oct. 1909 [Gathorne-Hardy 1963]; given to the Art Institute of Chicago, Nov. 22, 1932.
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