Wounded Eurydice

• “Drift of the Dog Days,” The Collector 4, 16 (1893), p. 247.
• Art Institute of Chicago, Paintings, Sculpture, and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1894), p. 55, no. 10.
• “Art Institute of Chicago: II – Modern Paintings: The Henry Field Collection,” Art Amateur 21, 1 (1894), p. 19.
• Art Institute of Chicago, Annual Report of the Trustees for the Year Ending June 4, 1895 (Chicago: Art Institute of Chicago, 1895), p. 37, no. 10.
• Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1895), p. 64, no. 10
• Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1896), p. 71, no. 10.
• Art Institute of Chicago, Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1898), p, 91, no. 10.
• “Chicago, ILL.: The Art Institute of Chicago,” in American Art Annual 1898 (London: Macmillan & Co., 1899), p. 140, no. 10.
• Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1901), p. 158, no. 110.
• Frederick Clifton Pierce, Field Genealogy, vol. 2 (Chicago: Hammond Press, 1901), p. 711, no. 10.
• Art Institute of Chicago, General Catalogue of Objects in the Museum (Chicago: Art Institute of Chicago, 1904), p. 163, no. 110.
• Alfred Robaut, L’Oeuvre de Corot (Paris: H. Floury, 1905), no. 2001 (ill); reprinted (Paris: Léonce Laget, 1965).
• Maurice Hamel, Corot et son oeuvre (Paris: Manzi, Joyant & Cie, 1905), no. 60 (ill.).
• Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1907), p. 175, no. 110.
• Art Institute of Chicago, General Catalogue of Sculpture, Paintings and Other Objects (Chicago: Art Institute of Chicago, 1910), p. 168, no. 110.
• Art Institute of Chicago, General Catalogue of Paintings, Sculpture and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1913), p. 113, no. 110.
• August F. Jaccaci, “Figure Pieces of Corot in America: II,” Art in America 2, 1 (1913), pp. 6–11, fig. 3.
• Art Institute of Chicago, General Catalogue of Paintings, Sculpture and Other Objects in the Museum (Chicago: Art Institute of Chicago, 1914), p. 117, no. 110.
• Art Institute of Chicago, Catalogue of Paintings, Drawings, Sculpture and Architecture (Chicago: Art Institute of Chicago, 1917), p. 117, no. 110.
• Art Institute of Chicago, Handbook of Sculpture, Architecture, Paintings, and Drawings (Chicago: Art Institute of Chicago, 1920), p. 22, no. 110.
• Art Institute of Chicago, Handbook of Sculpture, Architecture and Paintings (Chicago: Art Institute of Chicago, 1922), p. 22, no. 110.
• Art Institute of Chicago, Handbook of Sculpture, Architecture, and Paintings (Chicago: Art Institute of Chicago, 1923), p. 22, no. 110.
• M. C., “Corots in the Art Institute,” Bulletin of the Art Institute of Chicago 18, 8 (1924), pp. 100 (ill.), 102.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1925), p. 131, no. 110.
• C. Bernheim de Villers, Corot: peintre de figures (Paris: Mm. Bernheim-Jeune, 1930), p. 59, no. 293 (ill).
• Julius Meier-Graefe, Corot (Berlin: Bruno Cassirer and Klinkhardt & Biermann, 1930), pp. 90–91.
• Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago: Art Institute of Chicago, 1932), p. 147.
• Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute of Chicago, 1961), pp. 86, 106.
• John Maxon, The Art Institute of Chicago (New York: Harry N. Abrams, 1970), p. 266 (ill.); reprinted (London: Thames and Hudson, 1977); (London: Thames and Hudson, 1987).
• Minneapolis Institute of Arts, European Paintings from the Minneapolis Institute of Arts (New York: Praeger Publishers, 1971), p. 207, under no. 107.
• John D. Morse, Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists (New York: Abbeville Press, 1979), p. 62.
• Marcia Kay Stein, “Orphée, Eurydice et la vie contemporaine,” in Chiara Stefani, Vincent Pomarède, and Gérard de Wallens, Corot, un artiste et son temps (Paris: Klincksieck and Musée du Louvre and Rome: Académie de France à Rome, Villa Médicis, 1998), pp. 287–88, 295 no. 20, p. 302, fig. 7.
• Peter L. Schmunk, “Music and the Art of Corot,” Southeastern College Art Conference Review 13, 4 (1999), p. 361, n. 32.
• M. Therese Southgate, “About the Cover: Wounded Eurydice,” Journal of the American Medical Association 283, 22 (2000), p. 2899, cover ill.
• Janis P. Stout, “‘The Nude Had Descended the Staircase’: Katherine Anne Porter Looks at Willa Cather Looking at Modern Art,” in Sarah Cheney Watson and Ann Moseley, eds., Willa Cather and Aestheticism: From Romanticism to Modernism (Madison: Fairleigh Dickinson University Press and Lanham, Maryland: Rowman & Littlefield, 2012), p. 160.

• Paris, Durand-Ruel, Rétrospective de tableaux et dessins des maîtres modernes, 1878, no. 59.
• Art Institute of Chicago, A Century of Progress, June 1–November 1, 1933, no. 235.
• Art Institute of Chicago, A Century of Progress, June 1–November 1, 1934, no. 172.
• Art Institute of Chicago, Corot, 1796–1875: An Exhibition of His Paintings and Graphic Works, October 6–November 13, 1960, no. 117.
• Tokyo, Seibu Museum of Art, Shikago Bijutsukan Insho-ha ten (The Impressionist Tradition: Masterpieces from the Art Institute of Chicago), October 18–December 17, 1985, no. 8; Fukuoka Art Museum, January 5–February 2, 1986; Kyoto Municipal Museum of Art, March 4–April 13, 1986.

Probably Alfred Sensier (died 1877), Paris [according to Robaut 1905]. Charles (?) Edwards, Paris, by 1878 [lent to Paris 1878]; sold Hôtel Drouot, Paris, February 24, 1881, lot 8, as Eurydice for 6,510 francs to Durand-Ruel, possibly on behalf of Tavernier [price and buyer according to an annotated copy of the sale catalogue in the Rijksbureau voor Kunsthistorische Documentatie, The Hague]; Tavernier Collection, Paris [according to Robaut 1905, who states that it was acquired at the Edwards sale]. Henry Field (died 1890), Chicago; his widow Mrs. Florence Lathrop Field; given to the Art Institute, 1894.

Robaut no. 2001