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.
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“Exhibitions,” The Art Institute of Chicago Bulletin 15 (1921), p. 156 (ill.).
Catalogue des oeuvres de M. Dagnan-Bouveret, exh. cat (Paris: Galerie Maurice Rousseau, 1930), p. 24.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection, (Chicago: Art Institute of Chicago, 1961), p. 112.
Richard R. Brettell, French Salon Artists, 1800–1900 (Chicago: Art Institute of Chicago, 1987), pp. 108, 111 (ill.).
Gretchen Wold, “Some notes on The Pardon in Brittany by Dagnan-Bouveret,” Metropolitan Museum Journal 35 (2000), pp. 241–43, fig. 5, p. 245 n. 14, n. 18.
Gabriel P. Weisberg, Against the Modern: Dagnan-Bouveret and the Transformation of the Academic Tradition, exh. cat. (New York: Dahesh Museum of Art, 2002), pp. 82–83, 121, 129, fig. 85.
M. Therese Southgate, “The Cover,” Journal of the American Medical Association 287, 18 (2002), p. 2327 (ill.).
Chicago, Art Institute of Chicago, A Loan Exhibition of the Works of Dagnan-Bouveret, March 1–24, 1901, cat. 11.
Chicago, Art Institute of Chicago, Paintings from the Collection of Mrs. Potter Palmer, May 10–August, 1910, cat. 15.
New York, Dahesh Museum of Art at the National Academy Museum, Against the Modern: Dagnan-Bouveret and the Transformation of Academic Art, September 10–December 7, 2002, no cat. no; traveled to Palm Beach, Society of the Four Arts, January 3–February 9, 2003.
Jules Roederer (died 1888), Le Havre, France; sold his sale Galerie George Petit, Paris, 5 June 1891, lot 7 for 5,500 francs as Bretonne [price according to an annotated sale catalogue in the Rijksbureau voor Kunsthistorische Documentatie, The Hague]. Potter Palmer (died 1902), Chicago, October 1891 [according to an inventory of the Palmer collection dated December 1921, Archives, Art Institute]; his widow, Bertha Honoré Palmer (died 1918); by descent to their sons Honoré and Potter Palmer; given to the Art Institute, 1922.
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