Bathers by a River

• Charles Estienne, “Des tendances de la peinture moderne: Entretien avec M. Henri-Matisse,” Les nouvelles 2, no. 106 (Apr. 12, 1909), p. 4.
• Alvin Langdon Coburn, Men of Mark (Duckworth and Co./Mitchell Kennerly, 1913), pl. 33 (detail).
• Ernst Goldschmidt, “Strejftog i Kunsten: Henri Matisse,” Politiken, Jan. 5, 1913, p. 13.
• Robert Rey, “Beaux-Arts and Curiosité: Une heure chez Matisse,” L’opinion 7, no. 2 (Jan. 10, 1914), p. 60.
• Axel Salto, “Henri Matisse,” Klingen (Apr. 1918), n. pag.
• Ameen Rihani, “Artists in War-Time, Part II,” International Studio 68, no. 269 (July 1919), p. VI.
• Amédée Ozenfant and Charles–Édouard Jeanneret, “Recherches,” L’Esprit nouveau 22 (Apr. 1924), n. pag. (ill.).
• Sylvain Bonmariage, “Henri Matisse et la peinture pure,” Cahiers d’art 9 (1926), pp. 239 (ill.), 240, as Jeunes Filles au bain and Jeunes filles au bain, terminé en 1918.
• Gustav Kahn, Review, Le quotidien (Autumn 1926).
• André Warnod, “Les expositions de la semaine: Retour de vacances—Henri Matisse,” Comœdia (Oct. 7, 1926), p. 3, as Les Demoiselles de la Riviera.
• Les arts à Paris (1927), pp. 19–22.
• Florant Fels, Henri-Matisse, XXe siècle 3 (Éditions des Croniques du Jour, 1929), pl. 10, as Femmes au ruisseau, 1917.
• Roger Fry, Henri-Matisse (Éditions des Croniques du Jour/A. Zwemmer, 1930), pl. 10, as Women by a Stream, 1917.
• Gotthard Jedlicka, Henri-Matisse (Verlag Chroniques du Jour, 1930), pl. 10, as Frauen am Bach, 1917.
• Jacques-Émile Blanche, Les arts plastiques (Les Editions de France, 1931), pp. 247–48, as Demoiselles à la rivière.
• Carl Einstein, Die Kunst des 20. Jahrhunderts, 3rd ed. (Propyläen-Verlag, 1931), pp. 27, 37, 241 (ill.), as Frauen am Bach, 1917.
• Paul Fierens, “Matisse et le corps féminin,” Cahiers d’art, 6, nos. 5–6, Le Œuvre de Henri Matisse (1931), p. 259, as Jeunes filles au bain.
• Will Grohmann, “Henri-Matisse,” in Christian Zervos et al., “Le oeuvre de Henri Matisse,” special issue, Cahiers d’art 6, nos. 5–6 (1931), p. 276, as Jeunes Filles au bain, 1917.
• Pierre Guéguen, “Poésie d’Henri-Matisse,” in Christian Zervos, ed., “Le oeuvre de Henri Matisse,” special issue, Cahiers d’art 6, nos. 5–6 (1931), p. 264, as les Jeunes filles au bain and le Bain.
• Christian Zervos, “Notes sur la formation et le développement de l’œuvre de Henri-Matisse,” in Christian Zervos, ed., “Le oeuvre de Henri Matisse,” special issue, Cahiers d’art 6, nos. 5–6 (1931), p. 249, as les Jeunes filles au bain, 1917.
• Christian Zervos, ed., “Le oeuvre de Henri Matisse,” special issue, Cahiers d’art, 6, nos. 5–6 (1931), p. 294, fig. 62, as Jeunes filles au bain, terminé en 1917.
• Paul Fierens, “Henri-Matisse,” Journal des débats, Mar. 8, 1936, p. 3, as Jeunes filles au bain.
• Christian Zervos, Histoire de l’art contemporain (Éditions Cahiers d’Art, 1938), pp. 164, 165 (ill.), as Jeunes Filles au Bain, Issy-les-Moulineaux, 1916–1917 and 1915–1917.
• R. H. Wilenski, Modern French Painters (Reynal & Hitchcock, 1940), p. 258, as Les femmes à la rivière.
• Herbert Read, “Modern Art and French Decadence,” Studio 124, no. 597 (Dec. 1942), p. 179 (ill.), as Les jeunes filles a la rivière [sic.].
• Annual Report of the Philadelphia Museum of Art 72, with text by Fiske Kimball (Philadelphia Museum of Art, 1948), cover (detail).
• Henry Clifford and Henri Matisse, Henri Matisse: Retrospective Exhibition of Paintings, Drawings, and Sculpture, Organized in Collaboration with the Artist, exh. cat. (Philadelphia Museum of Art, 1948), pp. 39, cat. 43; n. pag., no. 43 (ill.), as Girls Bathing (Au Bord de la Rivière), 1917.
• Autour de 1900, exh. cat., with an essay by Robert Rey (Galerie Charpentier, 1950), n. pag. (ill.); cat. 120, as Jeunes filles à la rivière, 1914.
• Alfred H. Barr, Jr., Matisse: His Art and His Public (Museum of Modern Art, New York, 1951), pp. [3], 181, 183, 190, 201, 408 (ill.), 409, 542, 545, as Bathers by a River (Women at a Spring; Baigneuses), (worked on at Issy-les-Moulineaux, 1916, 1917; begun earlier).
• Museum of Modern Art, Henri Matisse, exh. cat., with an introduction by Alfred H. Barr, Jr. (Museum of Modern Art, New York, 1951), pp. 6; 10, cat. 47, as Bathers by a River (Women at a Spring), (1916, 1917; begun earlier).
• Frank A. Trapp, “The Paintings of Henri Matisse: Origins and Early Development” (Ph.D. diss., Harvard University, 1951), pp. ix; 216–21; figs. 170–71, as Jeunes filles au bain, 1917 and Jeunes filles au bain, preliminary state, 1916 (?).
• Eugène-Victor Thau, “New York: L’art d’Henri Matisse devant la critique Americaine,” trans. Paul Davay, Beaux-arts 16, no. 551 (Dec. 14, 1951), p. 4 (ill.), as Baigneuses, 1916–1917.
• Janet Flanner, “Profiles: King of the Wild Beasts, I,” New Yorker, Dec. 22, 1951, pp. 45–46, as Bathers by a River, 1917.
• E. Tériade, “Matisse Speaks,” Art News Annual 21 (1952), p. 53, as Young Girls by the River.
• Clement Greenberg, Henri Matisse, (1869– ), Pocket Library of Great Art (Harry N. Abrams, 1953), pl. 18; n. pag., as Bathers by a River, 1916–17.
• Gaston Diehl, with notices by Agnès Humbert, Henri Matisse (Éditions Pierre Tisné, 1954), pp. 60; 66–67; 79; pl. 74; 141, no. 74; 154, as Demoiselles à la rivière ou Les demoiselles à la rivière, 1916–17.
• Jacques Lassaigne, Matisse, Le goût de notre temps (Éditions d’Art Albert Skira, 1959), pp. 86, 132, as Demoiselles à la rivière, 1916–1917.
• Raymond Escholier, Matisse: From the Life, trans. Geraldine Colvile and H. M. Colvile (Faber and Faber, 1960), pp. 97, 148, as Demoiselles à la rivière, 1916–17 and Les Demoiselles à la rivière.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Art Institute of Chicago, 1961, repr., 1968), pp. 304–05, 468 (ill.), as Bathers by a River (Women at a Spring), begun earlier, finished 1916–17 and Bathers by a River 1916/17.
• Clement Greenberg, “The Late Thirties in New York,” in Art and Culture: Critical Essays (Beacon Press, 1961), p. 233, as Bathers by a River, 1916–1917.
• Herbert Read, A Concise History of Modern Sculpture (Frederick A. Praeger, 1964, repr., 1965), p. 40, as Bathers by a River, 1916–1917.
• A. James Speyer, “The Matisse Retrospective Exhibition,” Calendar of the Art Institute of Chicago 60, 2 (Mar. 1966), n. pag. (ill.), as Bathers by a River, 1916–1917.
• A. James Speyer, “Twentieth-Century European Paintings and Sculpture,” Apollo, n.s., 84, no. 55 (Sept. 1966), p. 225, as Bathers by a River, 1916–7.
• The WFMT Guide (Nov. 1966), n. pag. (ill.), as Bathers by a River, 1916–17.
• Frederick Brill, Matisse, Colour Library of Art (Paul Hamlyn, 1967), pp. 36; 38; pl. 23, as Bathers by a River, 1916–17.
• Charles C. Cunningham, John Maxon, and Anselmo Carini, Instituto de arte de Chicago, Mundo de los museos (Editorial Codex, 1967), pp. 13 (ill.); 29 (ill.); 70 (ill.); 72, as Bañistas en el río.
• George Heard Hamilton, Painting and Sculpture in Europe, 1880 to 1940, Pelican History of Art (Penguin Books, 1967), pp. xiv, no. 56; 110; 296; pl. 56, as Bathers by a River, 1916–17.
• Barbara Rose, American Art since 1900: A Critical History (Frederick A. Praeger, 1967), p. 148, as Bathers by a River, 1916–17. Later edition, Rose, American Art since 1900, revised and expanded ed. (Praeger Publishers, 1975), p. 124, as Bathers by a River, 1916–17.
• Kenjirō Okamoto, Bonnard/Matisse, L’art du Monde 16 (Kawade Shobō, 1968), n.
• pag.; pp. [49–50], pl. 46; 110, no. 46, as Kawabe no musume-tachi [Girls of the riverside]/Les demoiselles à la rivière, 1916–17.
• Alfred Jakstas, “Reports of the Departments: Conservation,” Art Institute of Chicago Annual Report 1968–1969 (Art Institute of Chicago, 1969), p. 47, as Bathers by the River.
• John Russell, The World of Matisse, 1869–1954 (Time-Life Books, 1969), pp. 90 (ill.), 122, 129, 186, as Bathers by a River, 1916–1917.
• Jean Guichard-Meili, “Les odalisques,” XXe siècle, special ed., Hommage à Henri Matisse (XXe siècle, 1970), pp. 64, 66 (ill.), as Demoiselles à la rivière, 1916–1917 and Jeunes femmes à la rivière, Issy, 1916.
• John Maxon, The Art Institute of Chicago (Harry N. Abrams, 1970), pp. 117 (ill.), 118, 283, as Bathers by a River, 1916–17.
• Pierre Schneider, with the collaboration of Tamara Préaud, Henri Matisse: Exposition du Centenaire, exh. cat., 2nd ed. (Réunion des Musées Nationaux, 1970), pp. 40 (ill.), 41, 76, 86, as Demoiselles à la rivière, 1916–1917?
• Henry Groskinsky, photographer, “The Sculpture of Henri Matisse,” Life 69, no. 11 (Sept. 11, 1970), pp. 46 (ill.), 47, as Bathers by a River.
• Louis Aragon, Henri Matisse, roman, vol. 1 (Éditions Gallimard, 1971), pp. 302; 337–38, pl. LXX; 351, no. LXX, as Les demoiselles à la rivière and Les demoiselles a la rivière or Jeunes filles a la rivière, 1916.
• Massimo Carrà, “Catalogo delle opera,” in Mario Luzi and Massimo Carrà, L’opera di Matisse: dalla rivolta ‘fauve’ all’intimismo, 1904–1928, Classici dell’Arte 49 (Rizzoli Editore, 1971), p. 96, cat. 249 (ill.), as Ragazze al fiume (Bagnanti), 1916–17.
• Danièle Giraudy, “Correspondance Henri Matisse—Charles Camoin,” Revue de l’art 12 (1971), p. 16, as des Baigneuses.
• Jack D. Flam, “Matisse’s Backs and the Development of His Painting,” Art Journal 30, no. 4 (Summer 1971), pp. 356; 357, fig. 11, as Bathers by a River, 1916–1917.
• Albert E. Elsen, The Sculpture of Henri Matisse (Harry N. Abrams, c. 1972), pp. 190; 191, fig. 251; 192; 220, n. 107, as Bathers by a River, 1916–17.
• Dominique Fourcade, Henri Matisse: Écrits et propos sur l’art (Hermann, 1972), p. 123, as Les Demoiselles à la rivière, 1916 17.
• Jack D. Flam, Matisse on Art (Phaidon, 1973), pp. 49, 134, 162, 173, as Young Girls by the River, Baigneuses, and Les baigneuses.
• Jack D. Flam, The Norton Matisses: The Rose, Lorette, Two Rays (Art Museum of the Palm Beaches, 1973), n. pag., as Bathers by a River.
• Clement Greenberg, “Influences of Matisse,” in Henri Matisse, exh. cat. (Acquavella Galleries, 1973), n. pag. (ill.), as Bathers by a River, c. 1916.
• John Jacobus, Henri Matisse, Library of Great Painters (Harry N. Abrams, 1973), pp. [6]; 15; 31; 33; 36; 146–47, pl. 31; 148; 156; 174, as Bathers by the River, 1916/17, 1916–17, and 1910–1917.
• John Hallmark Neff, “Matisse and Decoration 1906–14: Studies of the Ceramics and the Commissions for Paintings and Stained Glass” (Ph.D. diss., Harvard University, 1974), pp. xvi, nos. 77, 78, 79; 145; 146–48; 181, n. 168; 182–84, nn. 170–74, 176; figs. 77–78; fig. 79 (detail), as Bathers by a River, second state, c. 1913–14; Bathers by a River, final state, finished 1916.
• Albert Kosténévich, “La Danse and La Musique by Henri Matisse: A New Interpretation,” Apollo, n.s., 100, no. 154 (Dec. 1974), p. 513, n. 10, as Les Baigneuses, 1916.
• Lisa Lyons, “Matisse: Work, 1914–1917,” Arts Magazine 49, no. 9 (May 1975), pp. 74–75, as Bathers by a River.
• Frank Trapp, “Form and Symbol in the Art of Matisse,” Arts Magazine 49, no. 9 (May 1975), pp. 56 (ill.), 57–58, as Bathers by a River, 1916–1917 and Bathers by a River, completed 1917.
• Hilton Kramer, “Rediscovering the Genius of Henri Matisse,” New York Times, July 27, 1975, p. X21, as Bathers by a River, 1916–17.
• John Hallmark Neff, “Matisse and Decoration: The Shchukin Panels,” Art in America 63, 4 (July–Aug. 1975), pp. 40; 45; 46, fig. 13; 47, fig. 16; 48, nn. 21, 23–25, as Bathers by a River, ca. 1916–17; begun around 1910.
• Nicholas Watkins, Matisse (Phaidon Press, 1977), p. 9, as Bathers by the River, 1916/17.
• Grace Glueck, “The 20th-Century Artists Most Admired by Other Artists,” Art News 76, no. 9 (Nov. 1977), pp. 79, 82, 92 (ill.), 93, as Bathers by a River.
• John Elderfield, The Cut-Outs of Henri Matisse (George Braziller, 1978), pp. 32–33; 34, fig. 24, as Bathers by a River, 1916.
• John Elderfield, Matisse in the Collection of The Museum of Modern Art (Museum of Modern Art, New York, 1978), pp. 60; 188, fig. 39; 189, n. 3, as Bathers by a River, 1916.
• Janice J. Feldstein and Maureen Smith, eds., The Art Institute of Chicago: 100 Masterpieces (Art Institute of Chicago, 1978), pp. 136–37, pl. 86, as Bathers by a River, 1916–17.
• John Golding, Matisse and Cubism, W. A. Cargill Memorial Lectures in Fine Art 6 (University of Glasgow Press, 1978), p. 18, as Baigneuses, 1916–17 and Bathers by a river, 1916–17, begun in 1909 or 10.
• Robert Motherwell, “Words of the Painter,” New York Times, June 4, 1978, Book Review, p. 12, as Bathers by the River.
• Lawrence Gowing, Matisse (Thames & Hudson, 1979), pp. 137, fig. 121; 209, no. 121, as Baigneuses (Bathers by a River), 1916–17.
• Brenda Richardson, Barnett Newman: The Complete Drawings, 1944–1969, exh. cat. (Baltimore Museum of Art, 1979), p. 25 (ill.), as Bathers by a River, 1916–1917.
• A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (University of Chicago Press, 1980), pp. 7; 14; 54, cat. 2F9; microfiche 2, no. F9 (ill.), as Bathers by a River, completed in 1916–17 and Bathers by a River, c. 1916–17.
• Margrit Hahnloser-Ingold, “Matisse und seine Sammler,” in Henri Matisse, exh. cat., ed. Felix Baumann (Kunsthaus Zürich and Städtische Kunsthalle Düsseldorf, 1982), p. 47, as Baigneuses, vermutlich 1910 begonnen.
• Reinhold Hohl, “Matisse und Picasso,” in Henri Matisse, exh. cat., ed. Felix Baumann (Kunsthaus Zürich and Städtische Kunsthalle Düsseldorf, 1982), pp. 35–36, as Les baigneuses.
• Franz Meyer, “Matisse und die Amerikaner,” in Henri Matisse, exh. cat., ed. Felix Baumann (Kunsthaus Zürich and Städtische Kunsthalle Düsseldorf, 1982), pp. 67; 68, fig. 51; 74, n. 28, as Les demoiselles à la rivière, 1916/17 and Les demoiselles à la rivière, 1914/17.
• Pierre Schneider, “Matisse et l’âge d’or,” in Tout l’œuvre peint de Matisse, 1904–1928, ed. Xavier Deryng, Les Classiques de l’Art (Flammarion, 1982), p. 9, as Demoiselles à la rivière.
• T. J. Clark, Matisse (videotape), Modern Art and Modernism (Anthony Roland Collection of Films on Art/Open Univeristy, 1983), as Bathers by a River, 1916.
• Bernard Noël, Matisse (Hazan, 1983), p. 21, as lesDemoiselles à la rivière, 1916.
• John Elderfield, The Drawings of Henri Matisse (Arts Council of Great Britain/Museum of Modern Art, New York/Thames & Hudson, 1984), p. 70, as Bathers by a River, 1916–17.
• Michael P. Mezzatesta, Henri Matisse: Sculptor/Painter; A Formal Analysis of Selected Works, exh. cat. (Kimbell Art Museum, 1984), pp. 7; 97, fig. 64; 102; 103, fig. 68; 104, n. 1; 105, as Bathers by a River, 1916.
• Isabelle Monod-Fontaine, The Sculpture of Henri Matisse, exh. cat. (Thames & Hudson, 1984), pp. 23, fig. 29; 32; 149, no. 29, as Bathers by a River, 1916 and Bathers by a River, 1916–17.
• Pierre Schneider, Matisse (Flammarion, 1984), pp. 183; 284; 289 (ill.); 303; 307, n. 30; 338, n. 1; 381; 393–94; 469; 472–73; 489–90; 541–42; 553; 567, n. 43; 620; 622; 628, as Les Demoiselles à la rivière, 1916.
• Nicholas Watkins, Matisse (Phaidon, 1984), pp. 43; 93; 127; 129, pl. 112; 130; 133–35; 138–39; 143; 174; 226; 235, no. 112, as Bathers by a River, completed in 1916.
• Ann Schoenfeld, “Grace Hartigan in the Early 1950s: Some Sources, Influences, and the Avant-Garde,” Arts Magazine 60, no. 1 (Sept. 1985), pp. 85, fig. 3; 86; 87, as Bathers by a River, 1916–17 and Bathers by a River, 1916.
• Catherine C. Bock, “Woman before an Aquarium and Woman on a Rose Divan: Matisse in the Helen Birch Bartlett Memorial Collection,” in “The Helen Birch Bartlett Memorial Collection” special issue, Art Institute of Chicago Museum Studies 12, no. 2 (1986), pp. 203; 218, n. 2, as Bathers by a River, 1916.
• Jack Flam, Matisse: The Man and His Art, 1869–1918 (Cornell University Press, 1986), pp. 249; 261; 265; 301; 365; 366, fig. 364; 367–68; 371; 405; 408; 414; 416; 417, fig. 420; 419; 422–23; 498, n. 24; 504, n. 31, as Bathers by a Stream, 1916.
• Jean Guichard-Meili, Matisse (Éditions Aimery Somogy, 1986), pp. 37, 129, 131 (ill.), as Les Demoiselles à la rivière, 1916–17.
• John Hallmark Neff, “Henri Matisse: Notes on His Early Prints,” in Matisse Prints from The Museum of Modern Art, exh. cat., ed. David Moorman (Fort Worth Art Museum/Museum of Modern Art, New York, 1986), p. 24, n. 16, as Bathers by a River.
• Marcelin Pleynet, Les états-unis de la peinture (Fiction et Cie, 1986), p. 84, as les Demoiselles au bord de la rivière.
• Jacqueline Guillaud and Maurice Guillaud, Matisse: Le rythme et la ligne (Guillaud, 1987), pp. 71, no. 77; 91, fig. 77, as Les demoiselles à la rivière, 1916–17.
• Bernard Noël, Matisse, rev. ed. (Hazan, 1987), p. 45, as Demoiselles à la rivière, 1916.
• David Sylvester, “The Ugly Duckling,” in Michael Auping, Abstract Expressionism: The Critical Developments, exh. cat. (Albright-Knox Art Gallery/Harry N. Abrams, 1987), p. 138, as Bathers by a River, completed in 1917.
• Jack Flam, ed., Matisse: A Retrospective (Hugh Lauter Levin Associates, 1988), p. 184, pl. 55, as Bathers by a Stream, 1916.
• Robert Saltonstall Mattison, “Grace Hartigan,” in Paul Schimmel and Judith E. Stein, The Figurative Fifties: New York Figurative Expressionism (Newport Harbor Art Museum/Rizzoli, 1988), p. 92, as Bathers by a River.
• James N. Wood and Katharine C. Lee, Master Paintings in the Art Institute of Chicago (Art Institute of Chicago/New York Graphic Society Books, Little, Brown, and Company, 1988), pp. 10, 124 (ill.), as Bathers by a River, c. 1916–17.
• Jonathan Block and Gisele Atterberry, Design Essentials: A Handbook (Prentice Hall, 1989), pp. 69; 70, fig. 80, as Bathers by a River, 1916–1917.
• Isabelle Monod-Fontaine, Anne Baldassari, and Claude Laugier, Matisse: Œuvres de Henri Matisse (Éditions du Centre Pompidou, 1989), pp. 9; 330, fig. a, as Les Demoiselles à la rivière, 1916.
• John Russell, “Critic’s Notebook: A Matisse Misfit Is Placed,” New York Times, Jan. 18, 1989, p. C20 (ill.), as Bathers by a River, finished in 1916.
• Art Institute of Chicago, front and back matter, Art Institute of Chicago Museum Studies 16, no. 1, Aspects of Modern Art at the Art Institute: The Artist, the Patron, the Public (1990), front cover (detail), p. [3] (detail), back cover (ill.), as Bathers by a River.
• Catherine C. Bock, “Henri Matisse’s Bathers by a River,” Art Institute of Chicago Museum Studies16, 1, Aspects of Modern Art at the Art Institute: The Artist, the Patron, the Public (1990), pp. 44, fig. 1; 45–47; 49–55; 92; 93, n. 40, as Bathers by a River, 1910–16.
• Rachel A. Dressler, foreword, in “Aspects of Modern Art at the Art Institute: The Artist, the Patron, the Public,” special issue, Art Institute of Chicago Museum Studies 16, no. 1 (1990), p. 4, as Bathers by a River.
• Albert Kostenevich, “ Matisse and Shchukin: A Collector’s Choice,” in “Aspects of Modern Art at the Art Institute: The Artist, the Patron, the Public,” special issue, Art Institute of Chicago Museum Studies 16, no. 1 (1990), pp. 27, 28, 39–40, as Bathers by a River.
• Rosamond Bernier, Matisse, Picasso, Miró: As I Knew Them (Alfred A. Knopf, 1991), p. 86 (ill.), as Bathers by a River, 1916.
• Gilles Néret, Matisse (Nouvelles Éditions Françaises, 1991), pp. 80, fig. 126; 86; 269, as Les Demoiselles à la rivière, 1916.
• John Elderfield, Henri Matisse: A Retrospective, exh. cat. (Museum of Modern Art, New York, 1992), frontispiece (detail); pp. [4]; 42;65, fig. 38; 67–69; 77, nn. 278, 279; 181; 182; 236 (detail); 237; 238–39 (details, ill.); 240; 267, pl. 193; 294, as Bathers by a River, 1909–16 and Bathers by a River, Femmes à la rivière [Baigneuses; Jeunes filles au bain], Issy-les-Moulineaux, spring 1909 to 1910; spring–early autumn 1913; spring–autumn 1916.
• Rémi Labrusse and Georges Duthuit, “Les Tableaux qui nous entourent ce soir . . .,” in Rémi Labrusse, George Duthuit: Écrits sur Matisse (École nationale supérieure des Beaux-Arts, 1992), pp. 47; 48–49 (ill.); 50; 55–60; 303, n. 2; 326, as Les Demoiselles au ruisseau, 1916, Les Demoiselles à la Rivière, 1909–1916, and Les Demoiselles à la rivière, 1916.
• Sarah Wilson, Matisse (Rizzoli International Publications, 1992), pp. 18; 29; [78–79], fig. 87; 127, no. 87, as Bathers by a Stream, 1916.
• Carol Vogel, “The Making of a Matisse Show: In Itself a Show of Tact and Muscle,” New York Times, Sept. 17, 1992, p. C21 (ill.), as Bathers by a River.
• Anri Matiss, 1869–1954: Zhivopis’, risunok, dekupazhi [Henri Matisse, 1869–1954: Painting, drawing, decoupage], exh. cat. (Izd-vo “Galart,” 1993), p. 216, as Kupal’shchitsy u reki [Bathers by the River], 1910, 1913, and 1916.
• Dokuho suru iro to katachi [Color and Form: 20th Century I], Meiga e no tabi [Journey into the Masterpieces] 22 (Kodansha, 1993), pp. 56, pl. 2-50; 145, no. 2-50, as Kawabe no musume-tachi [Girls of the riverside]/The Girls at the River, 1916.
• Yve-Alain Bois, “L’aveuglement,” in Dominique Fourcade and Isabelle Monod-Fontaine, Henri Matisse 1904–1917, with the collaboration of Claude Laugier and Éric de Chassey, exh. cat. (Éditions du Centre Georges Pompidou, 1993), pp. 50, 57 (detail), as Femmes à la rivière, achevé en 1916.
• Jack Flam, “Henri Matisse: Le Bonheur de vivre (The Joy of Life),” in Great French Paintings from the Barnes Foundation, exh. cat. (Alfred A. Knopf/Lincoln University Press, 1993), p. 307, n. 18, as Bathers by a River, 1913–1916.
• Jack Flam, “Henri Matisse: The Dance (Merion Dance Mural) (La Danse),” in Richard J. Wattenmaker and Ann Distel, Great French Paintings from the Barns Foundation: Impressionist, Post-Impressionist, and Early Modern (Alfred A. Knopf/Lincoln University Press, 1993), pp. 284; 286, fig. 10, as Bathers by a River, c. 1916–17.
• Jack Flam, “Henri Matisse: The Music Lesson (La leçon de musique),” in Great French Paintings from the Barnes Foundation, exh. cat. (Alfred A. Knopf/Lincoln University Press, 1993), p. 310, as Bathers by a Stream.
• Jack Flam, “Histoire et métamorphoses d’un projet,” trans. Jeanne Bouniort, in Suzanne Pagé et al., Autour d’un chef-d’oeuvre de Matisse: Les trois versions de La Danse Barnes (1930–1933), exh. cat. (Réunion des musées nationaux, 1993), pp. 50, fig. 25; 52; 89, as Femmes à la rivière, 1909, 1913, et 1916.
• Jack Flam, Matisse: The Dance (National Gallery of Art, Washington, DC, 1993), pp. 40; 41, fig. 31, as Bathers by a River, 1909, 1913, and 1916.
• Dominique Fourcade and Isabelle Monod-Fontaine, “Exposer Matisse,” in Henri Matisse, 1904–1917, exh. cat., ed. Dominique Fourcade and Isabelle Monod-Fontaine (Centre Georges Pompidou, 1993), p. 58, as Femmes à la rivière, 1916.
• Xavier Girard, Matisse: La danse, Cahiers Henri Matisse 10 (La Malmaison/Musée Matisse, 1993), p. 54 (ill.), as Les Demoiselles à la rivière and Demoiselles à la rivière, 1916.
• Xavier Girard, Matisse: “Une splendeur inouïe,” Découvertes Gallimard (Gallimard, 1993), pp. 80–81 (details), 82–83 (ill.), 88, 169, as Les Demoiselles à la rivière (Baigneuses, jeunes filles au bain), achevé qu’à l’automne 1916 and 1909–16. Translated by I. Mark Paris as Matisse: The Wonder of Color, Discoveries (Harry N. Abrams, 1994), pp. 80–81 (details), 82–83 (ill.), 88, 169, as Bathers by a River, 1909–16.
• Colette Giraudon, Paul Guillaume et les peintres du XXe siècle: De l’art nègre à l’avant-garde (La Bibliothèque des Arts, 1993), pp. 99 (detail), 106 (ill.), 108, 133, as Les demoiselles à la rivière, 1909–1910, repris en 1913 et 1916.
• Brad Gooch, City Poet: The Life and Times of Frank O’Hara (Alfred A. Knopf, 1993), p. 213, as Bathers by a River.
• Hayden Herrera, Matisse: A Portrait (Harcourt Brace and Co., 1993), pp. 90, 111 (detail), as Bathers by a Stream, 1916 and Bathers by a River.
• Albert Kostenevich, “Matisse in Russian Collections,” in Albert Kostenevich and Natalia Semyonova, Collecting Matisse, trans. Andrew Bromfield (Flammarion, 1993), pp. 106, 107 (ill.), as Les Demoiselles à la rivière (Bathers by a River), 1910–1916.
• Karen Mayers, “Henri Matisse,” in In the Sculptor’s Landscape: Celebrating Twenty-Five Years of the Franklin D. Murphy Sculpture Garden, exh. cat., ed. Cynthia Burlingham and Elizabeth Shepherd (Wight Art Gallery/Grunwald Center for the Graphic Arts, University of California, Los Angeles, 1993), pp. 79; 81, fig. 70; 83, n. 7, as Bathers by a River, c. 1916–17.
• Isabelle Monod-Fontaine and Claude Laugier, “Éléments de chronologie (1904–1918),” in Dominique Fourcade and Isabelle Monod-Fontaine, Henri Matisse 1904–1917, with the collaboration of Claude Laugier and Éric de Chassey, exh. cat. (Centre Georges Pompidou, 1993), pp. 61 (detail), 89, 105 (ill.), 108 (details), 118 (ill.), 120, as Femmes à la rivière, 1916 and Baigneuses [Femmes à la rivière].
• Dominique Szymusiak, “La sculpture de Matisse: De la tradition à l’invention formelle,” in Musée Matisse, Matisse, sculptures–dessins, dialogue, exh. cat. (Musée Matisse, 1993), p. 19, as Baigneuse à la rivière [sic], achevée aussi pendant l’été 1916.
• Karen Wilkin, “After the Retrospective: Matisse and Picasso,” Hudson Review 46, no. 1 (Spring 1993), pp. 195, 199, 200, as Bathers by a River, 1909–10, 1913, 1916.
• Susanne Ließegang, Henri Matisse: Gegenstand und Bildrealität, Dargestellt an Beispielen der Malerei zwischen 1908 und 1918 (Josef Eul, 1994), pp. 55–57; 171, fig. 12, as Les demoiselles à la rivière and Les Demoiselles á [sic] la riviére [sic], 1916.
• Frank Milner, Henri Matisse (Bison Books, 1994), pp. 83, 84–5 (ill.), as Bathers by a River, 1909, 1913, and 1916.
• Yve-Alain Bois, trans. Greg Sims, “On Matisse: The Blinding: For Leo Steinberg,” October 68 (Spring 1994), p. 113, as Bathers by a River, finished 1916.
• David Carrier, “‘You, too, are in Arcadia”: The Place of the Spectator in Matisse’s Shchukin Triptych,” Word and Image 10, no. 2 (Apr.–June 1994), pp. 119; 120, fig. 1; 121–125; 128, n. 50; 129–132; 134–137, as Bathers by the Stream, 1910–1917.
• Guy-Patrice Dauberville and Michel Dauberville, Matisse: Henri Matisse chez Bernheim-Jeune (Éditions Bernheim-Jeune, 1995), vol. 1, pp. 568, cat. 166; 569 (ill.), as Trois personnages debout; vol. 2, pp. 1434, cat. 166; 1463, photo no. 1517, as Trois personnages debout.
• Jack Flam, ed., Matisse on Art, rev. ed. (University of California Press, 1995), pp. 55; 61 (?); 71; fig. 36; 205; 230; 268; 269; 270; 300, as Young Girls by the River, Bathers by a River, 1909–1916 and Bathers by a River, 1916.
• Sidney Guberman, Frank Stella: An Illustrated Biography (Rizzoli, 1995), p. 109, as Bathers by a River.
• Isabelle Monod-Fontaine, “A Black Light: Matisse (1914–1918),” in Matisse, exh. cat., ed. Caroline Turner and Roger Benjamin (Queensland Art Gallery/Art Exhibitions Australia Limited, 1995), pp. 90–91, fig. 6; 93; 95, n. 19, as Bathers by a river, 1909, 1913, 1916.
• Lynne Seear and Roger Benjamin, “Chronology,” in Matisse, exh. cat., ed. Caroline Turner and Roger Benjamin (Queensland Art Gallery/Art Exhibitions Australia Limited, 1995), p. 164, fig. 8 (detail), as Bathers by a river, 1916.
• Catherine C. Bock-Weiss, Henri Matisse: A Guide to Research, Artist Resource Manuals 1, ed. Wolfgang M. Freitag, Garland Reference Library of the Humanities 1424 (Garland Publishing, 1996), pp. 64, no. 165; 83, no. 215; 114, no. 311; 126, no. 346; 147, no. 404; 170, no. 479; 261, no. 770; 268–69, nos. 796–799; 358, no. 1144; 436, no. 1371; 442, no. 1395; 486; 679; 684, as Bathers by a River, Bathers by the River, Bathers by the Stream, Femmes à la rivière (Bathers by a River), and Bathers by the River (Femmes à la rivière), 1916.
• David Carrier, High Art: Charles Baudelaire and the Origins of Modernist Painting (Pennsylvania State University Press, 1996), pp. x, no. 13; 128; 129, fig. 13; 130–35; 141–42; 144, n. 40; 147, as Bathers by the Stream.
• John Richardson, with Marilyn McCully, A Life of Picasso, vol. 2, 1907–1917 (Random House, 1996), pp. 168, 170, as Bathers by a River, 1913–16.
• Francisco Calvo Serraller, “Robert Motherwell: Opus Nigrum,” in Dore Ashton et al., Motherwell, exh. cat. (Fundació Antoni Tàpies, 1996), pp. 64, 65 (ill.), as Les Demoiselles à la rivière, 1909–1916.
• James N. Wood and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Art Institute of Chicago, 1996), pp. 9, 40 (ill.), 159, as Bathers by a River, 1909, 1913, and 1916.
• David Sylvester, “Finding the Matisse in Bacon,” Tate: The Art Magazine 10 (Winter 1996), pp. 43, 44 (ill.), 45, as Bathers by a River, 1916.
• Claude Duthuit et al., Matisse: “La révélation m’est venue de l’Orient,” exh. cat. (Artificio, 1997), p. 178 (ill.), as Ragazze al fiume, 1909–1916 and Ragazze al fiume, 1916.
• Isabelle Monod-Fontaine, “Cézanne chez Matisse,” in Cézanne aujourd’hui: Actes du colloque organisé par le musée d’Orsay, 29 et 30 novembre 1995, ed. Françoise Cachin, Henri Loyrette, and Stéphane Guégan (Réunion des musées nationaux, 1997), pp. 107, fig. 42; 171–72, as Femmes à la rivière, 1916 and Femmes à la rivière, 1909–1916.
• Susan A. Sternau, Henri Matisse (Todtri, 1997), pp. 58 (detail), 65, 66 (detail), 67 (ill.), 68, as Bathers by a River, 1916.
• David Fraser Jenkins, “Baigneuses and Demoiselles: ‘Bathers’ in Cézanne, Picasso, and Matisse,” Apollo, n.s., 145, 421 (Mar. 1997), pp. 43; 44, n. 20, as Bathers by a river, 1909, 1913, 1916.
• Art Magazine/Asahi Bijutsukan [Morning Sun Magazine], 10 [Western edition 10], 20 [Masters of the 20th Century: Matisse], Oct. 15, 1997, pl. 46; pp. 78; 90–91; 93, as [Bathing Women of the Riverside], 1916.
• Yve-Alain Bois, Matisse and Picasso, exh. cat. (Kimbell Art Museum/Flammarion, 1998), pp. 29; 37; 41; 42, fig. 24; 245, n. 101; 246, n. 125, as Bathers by a River, 1916.
• John Golding, Caro at the National Gallery: Sculpture from Painting, exh. cat. (National Gallery, 1998), pp. 25; 26, fig. 26, as Bathers by a River, 1909, 1913, and 1916.
• Ingrid Schaffner, The Essential Henri Matisse (Harry N. Abrams, 1998), p. 87 (ill.), as Bathers by a River, 1909–1916.
• Albert Kostenevich, “Sergei Shchukin: An Unsurpassed Collector with a Sense for the Unique and the Epoch-Making,” in Henri Matisse: Four Great Collectors, exh. cat., ed. Kasper Monrad (Statens Museum for Kunst Copenhagen, 1999), p. 85, as Bathers by a River, 1913–16.
• Albert Kosténévitch, “Chtchuoukine, Morosov et Matisse,” in Le Maroc de Matisse, exh. cat., ed. Éric Delpont (Institut du monde arabe/Éditions Gallimard, 1999), p. 216, as Demoiselles à la rivière, 1913–1916.
• Rémi Labrusse, Matisse: La condition de l’image, Art et artistes (Éditions Gallimard, 1999), pp. 141; 244; 245, fig. 81; 310; 328, as Femmes à la rivière, (Baigneuses), (Demoiselles à la rivière), (Jeunes Filles au bain), Issy-les-Moulineaux, printemps 1909–1910, printemps–automne 1913, printemps–automne 1916.
• Isabelle Monod-Fontaine, “Le Paradoxe de l’odalisque,” in Le Maroc de Matisse, exh. cat., ed. Éric Delpont (Institut du monde arabe/Éditions Gallimard, 1999), p. 118, as Demoiselles à la rivière, 1916.
• Pierre Schneider, “Figure et décoration,” in Le Maroc de Matisse, exh. cat., ed. Éric Delpont (Institut du monde arabe/Éditions Gallimard, 1999), pp. 158; 174–75, fig. 63; 178; 250, as Demoiselles à la rivière, 1916 and Demoiselles à la rivière, 1916–1917.
• Art Institute of Chicago News and Events (May/June 1999), pp. 4 (detail), 16 (ill.), as Bathers by a River and The Bathers, 1906–1916.
• Gisele Atterberry, with Jonathan Block, Design Essentials: A Handbook, 2nd ed. (Prentice Hall, 2000), p. 62, fig. 67, as Bathers by a River, 1909, 1913, and 1916.
• John H. Cauman, “Matisse and America, 1905–1933,” (Ph.D. diss., City University of New York, 2000), pp. 242, 449, as Bathers by a River.
• Christopher Green, Art in France 1900–1940 (Yale University Press, 2000) pp. 73; 82; 84, fig. 84; 85; 89; 90; 102; 112; 237; 294, n. 1, as Bathers by a Stream, 1909–16.
• Mary E. Kinnecome, “The Art of Grace Hartigan: Masquerade and Identity” (Ph.D. diss., University of Wisconsin-Madison, 2000), pp. iii; 22–23; 181, fig. 1.7, as Bathers by a River, 1916–17.
• David Sylvester, Looking Back at Francis Bacon (Thames & Hudson, 2000), pp. 56; 58, fig. 41; 144; 187; 268, no. 41, as Bathers by a River, 1909–16.
• James N. Wood and Debra N. Mancoff, Treasures from the Art Institute of Chicago (Art Institute of Chicago, 2000), pp. 227, 242 (ill.), as Bathers by a River,1909, 1913, and 1916.
• John Klein, Matisse Portraits (Yale University Press, 2001), p. 175, as Bathers by a Stream.
• Albert Kostenevich, “Still Life with ‘Dance’ (Nature morte avec ‘La Danse’),” in Masterpieces and Master Collectors: Impressionist and Early Modern Paintings from the Hermitage and Guggenheim Museums, exh. cat. (Guggenheim Museum/Guggenheim Hermitage, 2001), p. 173, as Bathers by the River, 1916.
• Colin Wiggins, “R. B. Kitaj in Conversation with Colin Wiggins,” in Anthony Rudolf and Colin Wiggins, Kitaj in the Aura of Cézanne and Other Masters, exh. cat. (National Gallery, London, 2001), p. 46, as Bathers by a River.
• Anne Baldessari, “Catalogue: 20,” in Elizabeth Cowling et al., Matisse Picasso, exh. cat. (Tate Publishing, 2002), pp. 199; 200; 354, n. 26, as Bathers by a River and Bathers by a Stream.
• Anne Baldessari et al., “Chronology,” in Elizabeth Cowling et al., Matisse Picasso, exh. cat. (Tate Publishing, 2002), pp. 367 (detail), 374, as Bathers by a River, 1916.
• John Elderfield, “Catalogue: 13” and “Catalogue: 26,” in Elizabeth Cowling et al., Matisse Picasso, exh. cat. (Tate Publishing, 2002), pp. 142–44; 256; 351, nn. 19, 28, 31, as Bathers by a River, 1916.
• John Golding, introduction to Elizabeth Cowling et al., Matisse Picasso, exh. cat. (Tate Publishing, 2002), pp. 18; 21, fig. 12; 22, as Bathers by a River, 1909–16.
• Laurence Millet, L’ABCdaire de Matisse (Flammarion, 2002), pp. 27 (ill.), 28, as Baigneuses à la rivière and Demoiselles à la rivière, 1916.
• Isabelle Monod-Fontaine, “Catalogue: 8,” in Elizabeth Cowling et al., Matisse Picasso, exh. cat. (Tate Publishing, 2002), pp. 96; 347, fig. 29 (detail), as Bathers by a River.
• Margaret Werth, The Joy of Life: The Idyllic in French Art, circa 1900 (University of California Press, 2002), pp. xv, no. 108; 18; 222 (detail); 223; 233; 234, fig. 108; 235–238; 301, nn. 16–17, 19–21, as Femmes à la rivière (Bathers by a River) and Baigneuses à la rivière, 1916.
• Colette Giraudon, “Matisse à la galerie Paul Guillaume,” in Musée des Beaux-Arts de Nantes, Matisse, la période niçoise, 1917–1929, exh. cat. (Réunion des Musées Nationaux, 2003), p. 15 (detail), as Les Demoiselles à la riviére.
• Jack Flam, Matisse and Picasso: The Story of Their Rivalry and Friendship (Westview Press, 2003), pp. 110; 111, fig. 6.9; 140–41; 257, no. 6.9, as Bathers by a River, 1916.
• Pierre Georgel, “Un regard sans a priori,” in Matisse Picasso 1920: 12 chefs-d’oeuvre du Musée de l’Orangerie, exh. cat. (Musée de Grenoble, 2003), pp. 10 (ill.), 14, 15 (detail), as Les Demoiselles à la riviére ou Baigneuses à la source, 1916–1917.
• Chika Amano, “II-3: Processus et surface,” in Henri Matisse: Processus/Variation, exh. cat., ed. Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun (Musée national d’art occidental, 2004), supplement: pp. 30; 32; 33, n. 21, as Femmes à la rivière, 1916.
• Chika Amano, “II-3:Purosesu to hyōmen [Process and surface],” in Matisu-ten [Matisse Exhibition]/Henri Matisse: Processus/Variation, exh. cat., ed. Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun (Musée national d’art occidental, 2004), pp. 145; 150; 151, n. 21, as Kawabe no yoku on’na-tachi [Bathing women at the riverside], 1916.
• Chika Amano, “Catalogue: 76” and “Catalogue: 105,” in Matisu-ten [Matisse Exhibition]/Henri Matisse: Processus/Variation, exh. cat., ed. Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun (Musée national d’art occidental, 2004), pp. 162, 208, as Kawabe no yoku on’na-tachi [Bathing women at the riverside].
• Chika Amano, “Katei ni aru kaiga [Painting in process],”in Matisu-ten [Matisse Exhibition]/Henri Matisse: Processus/Variation, exh. cat., ed. Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun (Musée national d’art occidental, 2004), pp. 16; 23, n. 63, as Kawabe no yoku on’na-tachi [Bathing women at the riverside], 1909 [produced between 1909–1916].
• Chika Amano, “La peinture en procès,” in Henri Matisse: Processus/Variation, exh. cat., ed. Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun (Musée national d’art occidental, 2004), supplement: pp. 8; 13, n. 63, as Femmes à la rivière, réalisée entre 1909 et 1916.
• Diane E. Forsberg, “Coburn’s Self-Portrait without a Lens” and “Exhibition Catalog Checklist: Henri Matisse,” in Diane E. Forsberg and Debra Petke, A. L. Coburn’s Men of Mark: Pioneers of Modernism, exh. cat. (Mark Twain House and Museum, 2004), pp. 45, figs. 7, 9; 46, as Bathers by a River, 1909, 1913, and 1916; and pp. 77 (detail); 78, n. 59, as Bathers by the Sea.
• Diane E. Forsberg and Debra Petke, A. L. Coburn’s Men of Mark: Pioneers of Modernism, exh. cat. (Mark Twain House and Museum, 2004), pl. 2 (detail).
• Masayuki Tanaka, “Catalogue: 36–39,” in Matisu-ten [Matisse Exhibition]/Henri Matisse: Processus/Variation, exh. cat., ed. Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun (Musée national d’art occidental, 2004), p. 91, as Kawabe no yoku on’na-tachi [Bathing women at the riverside].
• Masayuki Tanaka, “Matisu no chōkoku ni okeru ‘purosesu’: Senaka, aruiwa ‘chūdzuri’ no chōkoku [Process’ in the sculpture of Matisse: Backs, or sculpture in ‘suspense’]” in Matisu-ten [Matisse Exhibition]/Henri Matisse: Processus/Variation, exh. cat. eds. Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun (Musée national d’art occidental, 2004), pp. 31, 33, as Kawabe no yoku on’na-tachi [Bathing women at the riverside].
• Masayuki Tanaka, “Processus dans la sculpture de Matisse: Nus de dos ou “la sculpture en suspens,” in Henri Matisse: Processus/Variation, exh. cat., ed. Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun (Musée national d’art occidental, 2004), supplement: pp. 18, 19, as Femmes à la rivière.
• Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun, eds., Matisu-ten [Matisse Exhibition]/Henri Matisse: Processus/Variation, exh. cat. (Musée national d’art occidental, 2004), pp. 37, fig. 6; 260, as Kawabe no yoku on’na-tachi [Bathing women at the riverside]/Femmes à la rivière, 1909/13/16.
• Calvin Tomkins, “At the Museums: A Picasso Face-Lift,” New Yorker, May 24, 2004, p. 32, as Bathers by a River.
• Paul Moorhouse, “‘The Forms of Things Unknown’: Anthony Caro’s Sculpture,” in Anthony Caro, exh. cat., ed. Paul Moorhouse (Tate, 2005), p. 84, as Bathers by a Stream, 1916–17.
• Paul Moorhouse, Interpreting Caro (Tate, 2005), p. 39, as Bathers by a Stream, 1916–17.
• Hilary Spurling, Matisse the Master: A Life of Henri Matisse: the Conquest of Color, 1909–1954 (Penguin Books, 2005), pp. ix, no. 135; xv, no. 19; 135 (detail); 138; 140; 142; 174; 184; 185–88; 194; 212; pl. 19; 285; 286; 292; 485, n. 127, as Bathers by a River, 1909, 1913, and 1916.
• “Calendar Highlights: Unknown Matisse,” Art Institute of Chicago News and Events (Jan./Feb. 2005), p. 19, as Bathers by a = River.
• Jack Flam, Matisse in Transition: Around Laurette (Norton Museum of Art, 2006), pp. 11, 25, as Bathers by a River, 1916, begun 1909.
• Alison de Lima Greene, Isamu Noguchi: A Sculpture for Sculpture (Museum of Fine Arts, Houston, 2006), pp. 45; 153, n. 13 (ill.), as Bathers by a River, 1909–16.
• Jay McKean Fisher, “Drawing Is Sculpture Is Drawing,” in Dorothy Kosinski, Jay McKean Fisher, and Steven Nash, Matisse: Painter as Sculptor, exh. cat. (Dallas Museum of Art/Yale University Press, 2007), p. 40, as Bathers by a River.
• Jed Morse, “Catalogue: The Back,” in Dorothy Kosinski, Jay McKean Fisher, and Steven Nash, Matisse: Painter as Sculptor, exh. cat. (Dallas Museum of Art/Yale University Press, 2007), p. 161, as Bathers by a River, 1909–1916.
• Steven Nash, “The Other Matisse,” in Dorothy Kosinski, Jay McKean Fisher, and Steven Nash, Matisse: Painter as Sculptor, exh. cat. (Dallas Museum of Art/Yale University Press, 2007), p. 9, as Bathers by a River, 1916.
• Anne D’Harnoncourt and Hans Ulrich Obrist, “Interview: Anne D’Harnoncourt,” in Hans Ulrich Obrist, A Brief History of Curating (JRP/Ringier and Les Presses du réel, 2008), p. 172, as Bathers by a River.
• Ann Slavick, Hour Chicago: Twenty-Five Self-Guided 60-Minute Tours of Chicago’s Great Architecture and Art (Ivan R. Dee, 2008), pp. 166–67, as Bathers by a River, 1913, 1916.
• Richard Lacayo, “Looking Around: A Talk With: John Elderfield,” Time, Jan. 14, 2008, http://entertainment.time.com/2008/01/14/a_talk_with_john_elderfield/(accessed Oct. 4, 2013), no fig. no. (ill.), Bathers by a River, 1909, 1913, 1916.
• Catherine Bock-Weiss, Henri Matisse: Modernist Against the Grain (Pennsylvania State University Press, 2009), pp. ix, no. 3; xiii; 6; 67–74; 76–82; pl. 3; 103; 172; 182, n. 58; 188, nn. 1, 7, 16; 189, n. 22; 190, nn. 51, 52, as Bathers by a River, 1909, 1913, and 1916.
• Adrianne O. Bratis, chronology, in Cézanne and Beyond, exh. cat., ed. Joseph J. Rishel and Katherine Sachs (Philadelphia Museum of Art/Yale University Press, 2009), pp. 30 (detail), 31, as Bathers by a River.
• William T. La Moy and Joseph P. McCaffrey, eds., The Journals of Grace Hartigan, 1951–1955(Syracuse University Press, 2009), pp. 39, 81, as Bathers by a River, 1916.
• Tomàs Llorens, Matisse: 1917–1941, exh. cat. 
• (Museo Thyssen-Bornemisza, 2009), pp. 23, 198, as Bañistas (Baigneuses) and Bathers (Baigneuses), 1916.
• Sabine Rewald, with Magdalena Dabrowski, The American Matisse: The Dealer, His Artists, His Collection (Metropolitan Museum of Art/Yale University Press, 2009), p. 116, fig. 56, as Bathers by a River, 1909–10, 1913, 1916–17.
• Hilary Spurling, Matisse: The Life (Penguin Books, 2009), pp. xi; 256; 258; 259; 280; 287–90; 292; 306; pl. 15; 372–3; 378, as Bathers by a River, 1909, 1913, and 1916.
• Carol Vogel, “Inside Art: Unsolved Mysteries of Matisse the Austere,” New York Times, July 17, 2009, p. C20, as Bathers by a River, 1909 to 1916.
• Stephanie D’Alessandro and John Elderfield, Matisse: Radical Invention, 1913–1917, exh. cat. (Art Institute of Chicago/Yale University Press, 2010), front cover (detail.); pp. 7; 16; 21, fig. 4; 22–26; 27, figs. 6–9; 28, fig. 10; 29, fig. 11; 30; 31, nn. 12, 23, 41; 32–34; 36–37; 41; 43; 76; 78; 80; 87, n. 24; 88, cat. 5 (ill.); 89; 90–91, cats. 5f–n (ill., details); 91, n. 7; 97, n. 5; 99; 101, nn. 2, 3, 6; 104–05, cats. 10, 10a–b (ills.); 106–07, cats. 10g, 10i–10o (ill., details); 107, nn. 2, 4; 140–41; 144–45; 149, fig. 12; 151, nn. 19, 23; 152, cat. 16 (ill.); 153, cats. 16a–h (details); 154, cat. 16i (detail); 155; 156, 16m–p (ill., details); 157, n. 6; 159; 163, n. 6; 169; 173, n. 2; 174–75, cats. 21–21c (ill.); 176, cats. 21d, 21g–k (ill., details); 177, nn. 5–6; 178; 182–83; 185; 188–89; 220; 222; 228; 241; 243; 262–64; 268; 269, n. 35; 271; 273, n. 1; 275; 279; 281; 283; 285, n. 2; 287; 291; 299; 301; 303; 304, cat. 46 (ill.); 305, cat. 46a (ill.); 306–07, cat. 46b (ill.); 308–09, cat. 46c–s (ills.); 309, n. 9; 310; 318; 333; 346, cat. 54 (ill.); 347, cat. 54a (ill.); 348, cat. 54d–e (ill.); 349, nn. 3–4; 350–53; 355, nn. 7, 17; 368; back cover (ill.), as Bathers by a River, March–May 1909, fall 1909–spring 1910, May 1913, early November 1913, early spring–November 1916, January–October (?) 1917.
• Paul Moorhouse, Anthony Caro: Presence (Lund Humphries, 2010), pp. 30, fig. 15; 104, as Bathers by a River, 1909–10, 1913, and 1916–17.
• John Elderfield, “Alfred H. Barr, Jr.’s ‘Matisse: His Art and His Public,’ 1951,” Burlington Magazine152, 1282 (Jan. 2010), p. 36, as Bathers by a river.
• Jeffrey Weiss, “Previews: Matisse: Radical Invention, 1913–1917,” Artforum International 48 (Jan. 2010), p. 91, Bathers by a River, reworked between 1909 and 1917.
• Hilarie M. Sheets, “Uncovering Matisse,” ArtNews 109, 3 (Mar. 2010), pp. 13 (detail), 84–85 (ill., detail), 86–87, as Bathers by a River, 1909–10, returned to it in 1913, and completed it in 1916–17.
• Jeffrey Weiss, “State of the Art,” Artforum International 48, no. 7 (Mar. 2010), pp. 204 (ills., detail), 205 (details), 206, 209 (ills.), 211, as Bathers by a River, March 1909–10, May– November 1913, and March 1916–October 1917.
• Margaret Hawkins, “Matisse Exhibit Explores Key Chapter in Artist’s Life,” Chicago Sun-Times, Mar. 19, 2010, p. 11, Bathers by a River.
• Lauren Viera, “The Metamorphosis of Matisse,” Chicago Tribune, Mar. 21, 2010, sec. 4: cover (ill.), p. 8, as Bathers by a River, 1909–10, 1913, and 1916–17.
• Lauren Viera, “From Russia, with Love,” Chicago Tribune, Mar. 21, 2010, sec. 4, p. 14 (ills.), as Bathers by a River.
• Christopher Knight, “Art Review: ‘Matisse: Radical Invention, 1913–1917’ @ Art Institute of Chicago,” Los Angeles Times, Mar. 22, 2010, http://latimesblogs.latimes.com/culturemonster/2010/03/matisse-art-institute-of-chicago-1.html (accessed Oct. 4, 2013), no fig. no. (ill.), as Bathers by a River.
• Josie Glausiusz, “Matisse’s Methods Revealed,” Nature 464 (Mar. 25, 2010), p. 493 (ill.), as Bathers by a River, 1909 to 1917.
• Kenneth Baker, “Art Review: Henri Matisse Show in Chicago,” San Francisco Chronicle, Mar. 26, 2010, p. Q-16 (ill.), as Bathers by a River, 1909–17.
• Manuel Jover, “Expositions États-Unis: Matisse ou L’invention permanente,” Connaissance des Arts 681 (Apr. 2010), p. 50 (ill.), Baigneuses à la rivière, 1909–10, 1913, 1916–1917.
• Richard Lacayo, “Exhibitions: Great Leap Forward,” Time, Apr. 12, 2010, pp. 70–71 (ill.), as Bathers by a River, 1909–1916.
• Mary Tompkins Lewis, “The Artist at War with Excess,” Wall Street Journal, May 13, 2010, p. D7, as Bathers by a River.
• Karen Wilken, “Matisse in Chicago,” New Criterion 28, no. 10 (June 2010), pp. 38–39, 41, as Bathers by a River, March 1909 through the spring of 1910, from May through November 1913, and from early spring 1916 through early fall 1917.
• “Art, Summer Preview: Wet Paint,” New Yorker, June 14 and 21, 2010, p. 30 (ill.), as Bathers by a River.
• Helen Stoilas, “What’s On, July–August 2010: Matisse: Radical Invention, 1913–17,” Art Newspaper 215 (July/Aug. 2010), p. 61, as Bathers by a River.
• Sotirios A. Tsaftaris, Kristin H. Lister, Inge Fiedler, and Aggelos Katsaggelos, “Colorizing a Masterpiece,” IEEE Signal Processing Magazine28, no. 3 (May 2011), cover (ill.); pp. 113, fig. 1; 114, fig. 2; 115, fig. 3 (detail); 116, fig. 4; 117, fig. 6; 118, figs. 7–8, as Bathers by a River, Issy-les-Moulineaux, March–May 1909, fall 1909–spring 1910, May–November 1913, early spring–November 1916, January–October (?) 1917.
• “Gatefold,” in Gauguin, Cezanne, Matisse: Visions of Arcadia, exh. cat., ed. Joseph J. Rishel (Philadelphia Museum of Art, 2012), pp. xiii–xiv (ill.), as Bathers by a River, March 1909–10, May–November 1913, and early spring 1916–October(?) 1917.
• Stephanie D’Alessandro, “Surface and Depth,” in Matisse: In Search of True Painting, exh. cat. ed. Dorthe Aagesen and Rebecca Rabinow (Metropolitan Museum of Art, New York/Yale University Press, 2012), pp. 99, fig. 56; 100, as Bathers by a River, 1909–17.
• Stephanie D’Alessandro, “Re-Visioning Arcadia: Henri Matisse’s Bathers by a River,” in Gauguin, Cezanne, Matisse: Visions of Arcadia, exh. cat., ed. Joseph J. Rishel (Philadelphia Museum of Art, 2012), pp. 180, fig. 172; 181; 184; 185, figs. 177 (detail), 178; 187; 188, fig. 180 (detail); 189; 190, fig. 181; 191, fig. 182; 192; 193, n. 2, as Bathers by a River, March 1909–10, May–November 1913, and early spring 1916–October(?) 1917.
• Jack Flam, “Chapter 4: Paintings, 1948–1958: Elegies to the Spanish Republic,” in Robert Motherwell, Paintings and Sculpture: A Catalogue Raisonné, 1941–1991, vol. 1, ed. Jack Flam, Katy Rogers, and Tim Clifford (Yale University Press, 2012), pp. 75; 76, fig. 55, as Bathers by a River, 1913–17.
• Joseph J. Rishel, ed., Gauguin, Cezanne, Matisse: Visions of Arcadia, exh. cat. (Philadelphia Museum of Art, 2012), slipcover (ill.), pp. [iv–v], as Bathers by a River, 1909–10, 1913, 1916–17.
• Joseph J. Rishel, “Arcadia 1900,” in Gauguin, Cezanne, Matisse: Visions of Arcadia, exh. cat., ed. Joseph J. Rishel (Philadelphia Museum of Art, 2012), pp. 52; 63; 120, n. 93, as Bathers by a River, 1909–10, 1913, 1916–17.
• Joseph J. Rishel, introduction and acknowledgments, in Gauguin, Cezanne, Matisse: Visions of Arcadia, exh. cat., ed. Joseph J. Rishel (Philadelphia Museum of Art, 2012), pp. 1; 3; 5; 7; 12, nn. 9, 18, as Bathers by a River, 1909–10, 1913, 1916–17.
• Timothy Rub, foreword, in Gauguin, Cezanne, Matisse: Visions of Arcadia, exh. cat., ed. Joseph J. Rishel (Philadelphia Museum of Art, 2012), p. viii, as Bathers by a River.
• Naina Saligram, checklist of the exhibition, in Gauguin, Cezanne, Matisse: Visions of Arcadia, exh. cat., ed. Joseph J. Rishel (Philadelphia Museum of Art, 2012), pp. 225 (ill.), 226, as Bathers by a River, March 1909–10, May–November 1913, and early spring 1916–October(?) 1917.
• Douglas Druick, “Material Perspectives: The Art Object, the Art Museum, and the History of Art,” in Histoire de l’art du XIXe siècle (1848–1914): Bilans et perspectives, XXIes Recontres de l’École du Louvre (École du Louvre, July 2012), pp. 277–78; 282, fig. 8, as Bathers by a River, March 1909–1910, May–November 1913, and early spring 1916–October (?) 1917.
• Stephanie D’Alessandro, with contributions by Renée DeVoe Mertz, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimbell Art Museum, 2013), pp. [4], 6 (ill.), 13, 47 (ill.), 72 (detail), 73, back cover (ill.), as Bathers by a River, March 1909–10, May–November 1913, and early spring 1916–October (?) 1917.
• Stephanie D’Alessandro, with contributions by Renée DeVoe Mertz, The Age of Picasso and Matisse: Modern Art at the Art Institute of Chicago (Art Institute of Chicago/Yale University Press, 2014), pp. [4], 11, 14 (ill.), 46 (ill.), 72 (detail), 73, as Bathers by a River, March 1909–10, May–November 1913, and early spring 1916–October (?) 1917.
• “Bathers by a River,” in Matisse Paintings, Works on Paper, Sculpture, and Textiles at the Art Institute of Chicago, ed. Stephanie D’Alessandro (Chicago: Art Institute of Chicago, 2019), cat. 25, https://publications.artic.edu/matisse/reader/works/section/61/61_anchor.
• Ina Ewers-Schultz, Simon Kelly, Simone Klein, Astrid Köhler, Peter Kropmanns, Ulrike Lorenz, Colin Lemoine, Isabelle Monod-Fontaine, Jacqueline Munck, Eva-Maria Schütz and Christian Weikop, Inspiration Matisse, exh. cat. (Prestel-Verlag, 2019), pp. 154 (color ill.), 156, as Baigneuses à la rivière, 1909/10, 1913, 1916/17.
• Juan Bosco Díaz Urmeneta and Mariano Navarro, Jordi Teixidor: Los limites de la pintura, exh. cat. (Centro Jose Guerrero-Diputacion de Granada, 2020), pp. 26, 27 (color ill.), as La Rivière.
• Ann Temkin and Dorthe Aagesen, eds., Matisse: The Red Studio (New York: The Museum of Modern Art, 2022), 100, 101 (color ill.).
• Colette Taylor-Jones, Jean-Benoit Ormal-Grenon, and Thomas Bari Heard, eds., Matisse in the 1930s, exh. cat. (Philadelphia: Philadelphia Museum of Art; Paris: Musée de l’Orangerie; Paris RMN-Grand Palais; New Haven: in association with Yale University Press, 2022), 47, fig 20 (color ill.), 114, fig. 69 (ill.).
• Simon Kelly, John Klein, and Ellen McBreen, Matisse and the Sea, exh. cat. (St. Louis: Saint Louis Art Museum; Munich: Hirmer Publishers, 2024) 37, 44.

• Paris, Galerie Paul Guillaume, Exposition des deux célèbres tableaux, Les Demoiselles à la Rivière et La Leçon de piano, par Henri Matisse, Oct. 1–14, 1926, no cat.
• Probably New York, Valentine Gallery lobby, late 1930s–c. 1940, no cat.
• New York, Museum of Modern Art, Large Scale Modern Paintings, Apr. 1–May 4, 1947, no cat.
• Philadelphia Museum of Art, Henri Matisse: Retrospective Exhibition of Paintings, Drawings, and Sculpture, Apr. 3–May 10, 1948, cat. 43 (ill.), as Girls Bathing (Au Bord de la Rivière), 1917.
• Paris, Galerie Charpentier, Autour de 1900, June 14–Oct. 5, 1950, cat. 120 (ill.), as Jeunes filles à la rivière, 1914.
• New York, Museum of Modern Art, Henri Matisse, Nov. 13, 1951–Jan. 13, 1952, cat. 47, as Bathers by a River (Women at a Spring), (1916, 1917; begun earlier); Cleveland Museum of Art, Feb. 5–Mar. 16, 1952; Art Institute of Chicago, Apr. 1–May 4, 1952; San Francisco Museum of Art, May 22–July 6, 1952.
• New York, Museum of Modern Art, Henri Matisse: A Retrospective, Sept. 24, 1992–Jan. 19, 1993, cat. 193 (ill.), as Bathers by a River, Femmes à la rivière [Baigneuses; Jeunes filles au bain], Issy-les-Moulineaux, spring 1909 to 1910; spring–early autumn 1913; spring–autumn 1916.
• Art Institute of Chicago, Matisse: Radical Invention, 1913–1917, Mar. 20–June 20, 2010, cats. 5, 5f–n, 10, 10b, 10g, 10i–10o, 16, 16a–i, 16m–p, 21, 21a–21d, 21g–21k, 46, 46a–s, 54, 54a, 54d–e (ill.), as Bathers by a River, March–May 1909, fall 1909–spring 1910, May 1913, early November 1913, early spring–November 1916, January–October (?) 1917; New York, Museum of Modern Art, July 18–Oct. 11, 2010.
• Philadelphia Museum of Art, Gauguin, Cézanne, Matisse: Visions of Arcadia, June 20–Sept. 3, 2012, no cat. no. (ill.), as Bathers by a River, March 1909–10, May–November 1913, and early spring 1916–October (?) 1917.
• Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct. 6, 2013–Feb. 16, 2014, no cat. no. (ill.), as Bathers by a River, March 1909–10, May–November 1913, and early spring 1916–October (?) 1917.

The artist; sold to Paul Guillaume (1891–1934), Paris, Sept. 14, 1926 [Chicago 2010]; by descent to his wife, Mme. Paul Guillaume (a.k.a. Domenica, née Juliette Léonie Lacaze; remarried as Mme. Jean Walter, 1898–1977), Paris, 1934; sold to Henry Pearlman (1895–1974), New York, summer 1951 [letter from Rose Pearlman, Dec. 4, 1975; copy in curatorial file]; acquired through exchange by the Art Institute of Chicago, Apr. 2, 1953.

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