La Peri (Mythological Subject)

CC0 Public Domain Designation

Prints and Drawings

1865

Gustave Moreau
French, 1826-1898

Status: Currently Off View
Department: Prints and Drawings

Artist: Gustave Moreau
Title: La Peri (Mythological Subject)
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.: 1865–1898
Medium: Graphite, with brush and black ink, gray wash, and touches of gold metallic paint, heightened with traces of white gouache, on cream wove tracing paper, laid down on ivory wove paper
Dimensions: 35.7 × 25.5 cm (14 1/16 × 10 1/16 in.)
Credit Line: Prints and Drawings Department Purchase Fund
Reference Number: 1973.722
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/89157/manifest.json

Ernest Chesneau, Les Nations Rivales dans l’Art (1868), pp. 205-206.
Renan (May 1886), p. 393 (ill.).
Ary Renan, “Gustave Moreau” Gazette des Beaux-Arts (Paris, 1900), p. 32 (ill.).
Leon Deshairs and Jean Laran, Gustave Moreau (Paris, 1913), p. 37.
Ragnar Von Holten, Gustave Moreau, Symbolist (Stockholm, 1965), p. 103.
Pierre-Louis Mathieu, Gustave Moreau, with a Catalogue of the Finished Paintings, Watercolors and Drawings (New York, 1976), no. 80 (ill.).
Jean Selz, Gustave Moreau (New York, 1979), p. 28 (ill.).
Harold Joachim, French Drawings and Sketchbooks of the Nineteenth Century in The Art Institute of Chicago (Chicago, 1979), no. 5F11.
Susan M. Canning, Patrick Florizoone, Nancy Ireson, Kimberly Nichols, Debora Silverman, Anna Swimbourne, and Sabine Taevernier, with a forward by Herwig Todts, “James Ensor: The Temptation of Saint Anthony” (Art Institute of Chicago, 2014). https://publications.artic.edu/ensor/reader/temptationstanthony; Accessed August 2015, Section 258, fig. 6 (ill.).

Salon of 1866, cat. 2431
Paris, Musée du Louvre, “Dessins français de l’Art Institute de Chicago de Watteau à Picasso,” October 15, 1976-January 17, 1977, n.p., cat. 52 (ill.).
Frankfurt am Main, Germany, Städtische Galerie im Städelschen Kunstinstitut, “Französische Zeichnungen aus dem Art Institute of Chicago,” February 10-April 10, 1977, pp. 107-109, cat. 51 (ill.).
Kunsthaus Zurich, “Gustave Moreau Symbolist,” March 14-May 25, 1986, cat. 25.
The Art Institute of Chicago, “Imaging the Body: from Fragment to Total Display,” January 30-April 28, 1992.
Tokyo, The National Museum of Western Art, “Gustave Moreau”, March 20-May 14, 1995; traveled to Kyoto, the Museum of Modern Art, May 22-July 9, 1995, cat. 80.
Paris, Galeries Nationales du Grand Palais, “Gustave Moreau (18267-1898), September 28, 1998-January 4, 1999; traveled to The Art Institute of Chicago, February 10-April 25, 1999; and The Metropolitan Museum of Art, New York, June 7-September 9, 1999, cat. 34.

Sold by the artist to A. Caubert, July 20, 1866 [Paris 1998]. Robert Rolland [Paris 1998]. Sold by Hector Brame, Paris, to the Art Institute, 1973.

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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.

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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.

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