Wounded Eurydice

1868–70

Jean-Baptiste-Camille Corot (French, 1796–1875)

Status: On View, Gallery 224
Department: Painting and Sculpture of Europe

Artist: Jean Baptiste Camille Corot
Title: Wounded Eurydice
Place: France (Artist's nationality:)
Date 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.: 1868–1870
Medium: Oil on canvas
Dimensions: 55.9 × 41.3 cm (22 × 16 1/4 in.); Framed: 87 × 73.7 × 11.5 cm (34 1/4 × 29 × 4 1/2 in.)
Credit Line: Henry Field Memorial Collection
Reference Number: 1894.1042
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/878/manifest.json

“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

Object information is a work in progress and may be updated as new research findings emerge. To help improve this record, please email . Information about image downloads and licensing is available here.

On View

Status

Department

Artist

Title

Place

Date 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.

Medium

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.

Explore Further

Suggested Terms

See all hours

On View

Date:

Artist:

About this artwork

Status

Department

Artist

Title

Place

Date 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.

Medium

Dimensions

Credit Line

Reference Number

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.

Extended information about this artwork

Publication History

Exhibition History

Provenance

Catalogues Raisonnés

Share

Explore Further

Sign up for our enewsletter to receive updates.

Gallery actions

Image actions

Share

IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world.

Learn more.