John Klein, Matisse Portraits (Yale University Press, 2001), p. 175, as Bathers by a Stream. Bernard Noël, Matisse, rev. LXX; 351, no. cat. 25; 52; 89, as Femmes à la rivière, 1909, 1913, et 1916. 15; 104, as Bathers by a River, 1909–10, 1913, and 1916–17. 356; 357, fig. 55, as Bathers by a Stream, 1916. 9, 40 (ill.), 159, as Bathers by a River, 1909, 1913, and 1916. 3; 103; 172; 182, n. 58; 188, nn. 302; 337–38, pl. - white snake rearing up its head from the bottom of the canvas. Isabelle Monod-Fontaine, Anne Baldassari, and Claude Laugier, Matisse: Œuvres de Henri Matisse (Éditions du Centre Pompidou, 1989), pp. cat. no. Isabelle Monod-Fontaine, “A Black Light: Matisse (1914–1918),” in Matisse, exh. Pierre Guéguen, “Poésie d’Henri-Matisse,” in Christian Zervos, ed., “Le oeuvre de Henri Matisse,” special issue, Cahiers d’art 6, nos. ), as Bathers by a River. 30, fig. (Réunion des Musées Nationaux, 2003), p. 15 (detail), as Les Demoiselles à la riviére. Herbert Read, A Concise History of Modern Sculpture (Frederick A. Praeger, 1964, repr., 1965), p. 40, as Bathers by a River, 1916–1917. (Dallas Museum of Art/Yale University Press, 2007), p. 161, as Bathers by a River, 1909–1916. Rémi Labrusse, Matisse: La condition de l’image, Art et artistes (Éditions Gallimard, 1999), pp. For licensing motion picture film footage it is advised to apply directly to the copyright holders. Jack Flam, Matisse: The Man and His Art, 1869–1918 (Cornell University Press, 1986), pp. 204 (ills., detail), 205 (details), 206, 209 (ills. Masayuki Tanaka, “Processus dans la sculpture de Matisse: Nus de dos ou “la sculpture en suspens,” in Henri Matisse: Processus/Variation, exh. 43; 44, n. 20, as Bathers by a river, 1909, 1913, 1916. Restrained color palette and strict forms of strikingly distinguish the picture from most other works of Matisse. 12, 2010, pp. 249 (ill.), as Ragazze al fiume (Bagnanti), 1916–17. 60; 188, fig. 2005), p. 19, as Bathers by a = River. [49–50], pl. Christian Zervos, ed., “Le oeuvre de Henri Matisse,” special issue, Cahiers d’art, 6, nos. Stephanie D’Alessandro (Chicago: Art Institute of Chicago, 2019), cat. Matisse proposed three pastoral images, though Shchukin decided to purchase only two works, Dance II and Music (both State Hermitage Museum, Saint Petersburg). 2, 1907–1917 (Random House, 1996), pp. Susanne Ließegang, Henri Matisse: Gegenstand und Bildrealität, Dargestellt an Beispielen der Malerei zwischen 1908 und 1918 (Josef Eul, 1994), pp. Herbert Read, “Modern Art and French Decadence,” Studio 124, no. 6; 260, as Kawabe no yoku on’na-tachi [Bathing women at the riverside]/Femmes à la rivière, 1909/13/16. 215; 114, no. 56; 58, fig. ); 309, n. 9; 310; 318; 333; 346, cat. 5–6 (1931), p. 276, as Jeunes Filles au bain, 1917. (Kimbell Art Museum/Flammarion, 1998), pp. (National Gallery, 1998), pp. Their lives did cross paths at times, but their age difference meant it was not quite the meeting of minds that it might otherwise have been. 5–6, Le Œuvre de Henri Matisse (1931), p. 259, as Jeunes filles au bain. 87, as Bathers by a Stream, 1916. Please note that www.HenriMatisse.org is a private website, unaffiliated with Henri Matisse or his representatives. 8; 13, n. 63, as Femmes à la rivière, réalisée entre 1909 et 1916. Chika Amano, “II-3: Processus et surface,” in Henri Matisse: Processus/Variation, exh. 1, pp. 239 (ill.), 240, as Jeunes Filles au bain and Jeunes filles au bain, terminé en 1918. 18; n. 1; 114, fig. Ann Schoenfeld, “Grace Hartigan in the Early 1950s: Some Sources, Influences, and the Avant-Garde,” Arts Magazine 60, no. cat., ed. 20–June 20, 2010, cats. Christopher Green, Art in France 1900–1940 (Yale University Press, 2000) pp. (Musée de Grenoble, 2003), pp. Lauren Viera, “The Metamorphosis of Matisse,” Chicago Tribune, Mar. (Fundació Antoni Tàpies, 1996), pp. Masayuki Tanaka, Chika Amano, and Département des Affaires Culturelles du Yomiuri Shimbun (Musée national d’art occidental, 2004), supplement: pp. 126; 86; 269, as Les Demoiselles à la rivière, 1916. (ill.); cat. 1.7, as Bathers by a River, 1916–17. cat. 1; 45–47; 49–55; 92; 93, n. 40, as Bathers by a River, 1910–16. Pierre Schneider, with the collaboration of Tamara Préaud, Henri Matisse: Exposition du Centenaire, exh. 50, fig. Naina Saligram, checklist of the exhibition, in Gauguin, Cezanne, Matisse: Visions of Arcadia, exh. 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 (Sept. 1985), pp. 12; 22, as Bathers by a River, 1909–16. Jean Guichard-Meili, “Les odalisques,” XXe siècle, special ed., Hommage à Henri Matisse (XXe siècle, 1970), pp. 3–4; 350–53; 355, nn. (Philadelphia Museum of Art, 2012), slipcover (ill.), pp. Art Institute of Chicago News and Events (May/June 1999), pp. 47, as Bathers by a River (Women at a Spring), (1916, 1917; begun earlier); Cleveland Museum of Art, Feb. 5–Mar. David Carrier, “‘You, too, are in Arcadia”: The Place of the Spectator in Matisse’s Shchukin Triptych,” Word and Image 10, no. (Réunion des musées nationaux, 1993), pp. cat. (Artificio, 1997), p. 178 (ill.), as Ragazze al fiume, 1909–1916 and Ragazze al fiume, 1916. Although scholars knew Matisse had made a number of other paintings as studies for “Bathers,” no one was sure of all the stages “Bathers” went through between 1909 and 1916. cat. The painting evolved out of a commission from Matisse's Russian patron, Sergei Shchuckin, for two decorative panels on the subjects of dance and music, and, initially, the scheme for the picture resembled the idyllic scenes he had previously depicted in paintings such as Joy of Life (1905-06).

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