Christ on the Sea of Galilee

Original Language TitleLe Christ sur le Lac de Génézareth

Former TitleJésus Christ dormant pendant la tempête

Former TitleBarque du Christ

Artist Eugène Delacroix (French, 1798 - 1863)

Date1853 or earlier

MediumOil on canvas

DimensionsUnframed: 18 × 21 1/2 inches (45.72 × 54.61 cm)
Framed: 24 3/4 × 28 3/8 × 2 5/8 inches (62.87 × 72.07 × 6.67 cm)

Credit LinePurchase: William Rockhill Nelson Trust through exchange of the gifts of the Friends of Art, Mr. and Mrs. Gerald Parker, and the Durand-Ruel Galleries; and the bequest of John K. Havemeyer

Object number89-16

On View

On view

Gallery Location

Collections

European Art

Terms

Exhibition History

Exposition Eugène Delacroix au profit de la souscription destinée à éléver à Paris un monument à sa memoire , École nationale des Beaux-Arts, Paris, March 6-April 15, 1885, no. 204, as Barque du Christ.

L’Eau , Bernheim-Jeune, Paris, June 26-July 13, 1911, no. 14, as Le Barque.

Ausstellung von Meisterwerken aus Privatsammlungen , Kunstmuseum Winterthur, Switzerland, August 20-October 8, 1922, no. 37, as Le Christ sur le lac de Génézareth.

Eugène Delacroix, 1798-1863 , Kunsthaus Zürich, Switzerland, January 28-April 5, 1939, no. 355, as Le Christ sur le lac de Génézareth.

Eugène Delacroi x, 1798-1863, Kunsthalle Basel, Switzerland, April 22- May 29, 1939, no. 248, as Christus auf dem See Genezareth.

Der Unbekannte Winterthurer Privatbesitz, 1500-1900 , Kunstmuseum Winterthur, Switzerland, September-October, 1942, no. 85, as Le Christ sur le lac de Génézareth.

Eugène Delacroix , Kunstmuseum Bern, Switzerland, November 16, 1963-January 19, 1964, no. 77, as Le Christ sur le Lac de Génésareth.

Eugène Delacroix (1798-1863): Paintings and Drawings; Peter Paul Rubens (1577-1640): Three Oil Sketches, Salander-O'Reilly Galleries, New York, November 15-December 30, 1989, no. 9, as Christ on the Sea of Galilee.

Delacroix: Les dernières années , Galeries nationales du Grand Palais, Paris, April 7, 1998-July 20, 1998; Delacroix: The Late Work, Philadelphia Museum of Art, September 10, 1998-January 3, 1999, no. 113, asLe Christ sur le lac de Génésareth and Christ on the Sea of Galilee.

Delacroix: The Music of Painting , Ordrupgaard, Copenhagen, September 13-December 30, 2000, no. 17, as Christ on the Sea of Galilee.

A Magnificent Age: French Paintings from the Walters Art Museum, The Nelson-Atkins Museum of Art, Kansas City, MO, June 28–September 7, 2003, no cat.

Déjà Vu? Revealing Repetition in French Masterpieces , Walters Art Museum, Baltimore, October 7, 2007-January 1, 2008; Masterpiece Replayed: Monet, Matisse and More, Phoenix Art Museum, AZ, February 20-May 4, 2008, as Christ on the Sea of Galilee

Delacroix and the Matter of Finish , Santa Barbara Museum of Art, CA, October 27, 2013-January 26, 2014; Birmingham Museum of Art, AL, February 23-May 18, 2014, no. 7, as Christ on the Sea of Galilee.

Gallery Label

A leading advocate of Romanticism, Eugène Delacroix was fascinated by the struggles of humanity and nature and favored dramatic, emotional scenes over classical subjects. This painting depicts Jesus sleeping peacefully while his panicked disciples weather a violent storm. Delacroix painted at least six variations on this biblical theme, but this version is considered his first oil sketch for the series.

Provenance

With the artist, ca. 1853-August 13, 1863 [1];

Purchased from Delacroix’s posthumous sale, Vente qui aura lieu par suite du décès de Eugène Delacroix, Hôtel Drouot, Paris, February 17-19, 1864, lot 131, as Jésus endormi dans la barque pendant la tempête, by Tilly et Ott, Paris, 1864 [2];

Purchased from “a friend” by Charles Soultzener d’Enschwyl (1818-1883), Lésigny and Paris, France, by March 18, 1873-1883 [3];

Inherited by his wife Frasquita-Joséphine-Madeleine Soultzener d’Enschwyl (née Thomas de Colmar, 1821-1905), Lésigny and Paris, France, by November 17, 1883-at least 1885;

Probably by descent to their daughter, Marie-Frasquita Véneau (née Soultzener d’Enschwyl, 1845-1908), Paris, by October 20, 1905;

To her husband, Marc-Charles-Guy-Ludovic Véneau (1841-1931), Paris, by November 9, 1908-1909;

Purchased from Véneau by Durand-Ruel, Paris, stock no. L: 9095, in half-shares with Bernheim-Jeune [fils?], Paris, stock no. 17872, as Le Christ sur le Lac de Génézareth, June 16-December 30, 1909 [4];

Purchased from Bernheim-Jeune fils, Paris, by Bernheim-Jeune, December 30, 1909-1910 [5];

Purchased from Bernheim-Jeune, Paris, by Baron Denys Cochin (1851-1922), Paris, January 4, 1910[6];

With Bernheim-Jeune, Paris, by September 30, 1913 [7];

Purchased from Bernheim-Jeune by Georg Reinhart (1877-1955), Winterthur, Switzerland, September 30, 1913-1955;

By descent to his daughter, Verena Lilly Hafter-Reinhart (1905-1973), Zurich, Switzerland, by July 27, 1955;

Possibly to her husband Ernst Hafter (1909-1998), Zurich, by October 21, 1973;

Purchased fromNineteenth Century European Paintings, Drawings and Sculpture, Sotheby Parke Bernet and Co., London, November 22, 1983, lot 9, by Wheelock Whitney and Co., New York, 1983-1985 [8];

Purchased at Nineteenth Century European Paintings, Drawings and Watercolours, Sotheby’s, London, November 26, 1985, lot 9, by a private collector, 1985;

Purchased at Nineteenth Century European Paintings, Drawings, Watercolors and Sculpture , Christie's, New York, October 26, 1988, lot 103, by Richard L. Feigen and Co., New York, 1988-August 4, 1989 [9];

Purchased from Richard L. Feigen by The Nelson-Atkins Museum of Art, Kansas City, MO, 1989.

NOTES:

[1] See emails between Dr. Michèle Hannoosh, University of Michigan-Ann Arbor, and Glynnis Stevenson, NAMA, dating between April 8 and July 28, 2020, NAMA curatorial files, regarding the change of the painting’s date from 1841 to ca. 1853.

[2] Delacroix made clear in his will “that there be a public auction of everything that will have belonged to me, apart from the things that I have bequeathed. And I impose on my universal legatee the absolute obligation of holding this auction in the two years following my death.” See email from Dr. Michèle Hannoosh, University of Michigan-Ann Arbor, to Glynnis Stevenson, NAMA, July 30, 2020. See the transcription of Delacroix’s inventory, held in the Minutier central, Archives nationales, Paris, in Henriette Bessis, “L'inventaire apres deces d'Eugene Delacroix. Études et documents,” Bulletin de la Société de l'histoire de l'art franc ̧ais (1969).

The annotated Delacroix sales catalogue belonging to Adolphe Moreau calls the buyer, “Filhs.” Alfred Robaut in his 1885 catalogue raisonné names the buyer, “Filhston.” “Filhs’” name appears repeatedly in the catalogue of Delacroix’s posthumous 1864 sale; many of the works he purchased reappeared on the art market in the years immediately following the sale. According to Dr. Michèle Hannoosh, “The problem is that neither of these names exists: they are a misreading. According to the auctioneer’s record of the sale, the buyer of lot 131 was ‘Tilly et Ott,’ at ‘'10 P[assa]ge Violet,’ which the other lots shorten to ‘Tilly.’ Tilly et Ott was a firm of ‘négociants-commissionnaires’ that seems to have dealt in silks. See email from Dr. Michèle Hannoosh, University of Michigan-Ann Arbor, to Glynnis Stevenson, NAMA, July 28, 2020, NAMA curatorial files.

[3] The earliest mention of this painting being in M. Soultzener’s collection is in Adolphe Moreau, E. Delacroix et son œuvre (Paris: Librairie des Bibliophiles, 1873). According to Dr. Michèle Hannoosh, “In a letter to Moreau dated 18 March 1873, Soultzener writes that his picture was ‘the first sketch of the various Barques that [Delacroix] subsequently modified,’ that he had acquired it from ‘one of his friends’ and that he believed it had been part of Delacroix’s posthumous sale.” Louvre autographs A849 AR25 L53, transcribed and translated by Dr. Hannoosh. See email from Dr. Hannoosh, University of Michigan-Ann Arbor, to Glynnis Stevenson, NAMA, July 28, 2020, NAMA curatorial files.

[4] See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel et Cie., to Nicole Myers, NAMA, January 11, 2016, NAMA curatorial files. Durand-Ruel photo no. 6438; see also photo stock card, Eugene Delacroix [sic], Durand-Ruel NY, Photo Archives, National Gallery of Art, Washington, D.C. Durand-Ruel did not cite Bernheim-Jeune fils, but see footnote 5. Durand-Ruel retained their half-share from June 16, 1909 until January 16, 1914, when they settled their account with Bernheim-Jeune.

[5] According to Guy-Patrice Dauberville, Director, Bernheim-Jeune et Cie, Paris, “cette œuvre figure dans nos livres de stock comme ayant été acheté à Bernheim-Jeune fils le 30 décembre 1909 et vendue le 4 janvier 1910 à Denis Cochin”; see letters from Guy-Patrice Dauberville to NAMA, September 1, 2011 and January 3, 2012, NAMA curatorial files. Bernheim-Jeune Fils was a separate company formed by Gaston and Josse Bernheim-Jeune.

[6] Ibid.

[7] Georg Reinhart, Katalog meiner Sammlung (Winterthur, Switzerland, 1922), 16, states that Reinhart bought it from Bernheim-Jeune on September 30, 1913. A letter from Reinhart to the dealer Carl Montag held at the Schweizerischen Instituts für Kunstwissenschaft (SIKDok), Zürich, dated September 30, 1913 cites the purchase of the Delacroix. Cited in Dieter Schwarz, ed., Die Sammlung Georg Reinhart, exh. cat. (Winterthur: Kunstmuseum Winterthur, 1998), 12-13, 255.

However, Bernheim-Jeune does not record the painting in its collection after 1910. See letter from Guy-Patrice Dauberville, Director, Bernheim-Jeune et Cie, Paris, to NAMA, January 3, 2012, NAMA curatorial files. Lastly, Durand-Ruel sold its half share to Bernheim-Jeune on January 16, 1914. See email from Paul-Louis Durand-Ruel and Flavie Durand-Ruel, Durand-Ruel et Cie. to Nicole Myers, NAMA, January 11, 2016, NAMA curatorial files.

[8] See email from Asher Miller, Associate Curator, The Metropolitan Museum of Art, New York, to Aimee Marcereau DeGalan and Meghan Gray, NAMA, January 6, 2019, NAMA curatorial files. See also 19th Century European Paintings, Drawings, Watercolors and Sculpture (New York: Christie’s, October 26, 1988), 112-13.

[9] Feigen purchase date confirmed by email from Emelia Scheidt, Gallery Associate, Richard L. Feigen and Co., New York, to Meghan Gray, NAMA, on April 13, 2015, NAMA curatorial files.

Published References

Théophile Silvestre, ed., Delacroix: Fragments du Journal extraits en 1853 par Théophile Silvestre avec l’autorisation du peintre , vol. 1 (1853), unpaginated, as Christ pendant la tempête.

Catalogue de la vente qui aura lieu par suite du décès de Eugène Delacroix (Paris: Hôtel Drouot, February 17-19, 1864), 19, as Jésus endormi dans la barque pendant la tempête.

“Vente publique aux enchères des tableaux, esquisses, copies et études d’Eugène Delacroix, faite à l’hôtel des commisseurs-priseurs de Paris, le 17 février 1864 et jours suivants,” Journal des amateurs d’objets d’art et de curiosité 10 (1864): 100, as Jésus endormi dans la barque pendant la tempête.

Ph[ilippe] Burty, “Vente Delacroix,” La Presse (February 20, 1864): unpaginated, as Jésus endormi pendant la tempête.

“Vente Eugène Delacroix: Peintures. Études pour ses travaux décoratifs,” La Chronique des arts et de la curiosité, no. 53 (February 21, 1864): 61, as Jésus endormi dans la barque pendant la tempête.

Pierre Dax, “Chronique,” L’Artiste 1 (March 15, 1864): 142, as Jésus endormi dans la barque pendant la tempête.

“Vente à l’Hôtel Drouot,” Revue universelle des arts 19 (April-September 1864): 136, as Jésus endormi dans la barque pendant la tempête.

Possibly Henri du Cleuziou, L’Œuvre de Delacroix (Paris: Marpon, 1865), 11, 39, as Jésus calme et dormant and la Barque de Jésus dans la tempête.

Adolphe Moreau, E. Delacroix et son œuvre (Paris: Librairie des Bibliophiles, 1873), 262n1, 263, 317-18, as Jésus endormi dans la Barque pendant la tempête.

Paul Mantz and Auguste Vacquerie, Exposition Eugène Delacroix: Au profit de la souscription destinée a élever a Paris un monument a sa mémoire , exh. cat. (Paris: Imprimerie Pillet et Dumoulin, 1885), 74, as Barque du Christ.

A.M.X., “L’Exposition Delacroix,” Le Rappel, no. 5475 (March 7, 1885): unpaginated, as Barque du Christ.

Henry Houssaye, “L’Exposition des œuvres d’Eugène Delacroix a l’École des Beaux-Arts,” Revue des Deux-Mondes 68 (April 1, 1885): 665, 668, as Christ dans la barque.

Auguste Vacquerie, “Le Nouveau ministère,” Le Rappel, no. 5507 (April 8, 1885): unpaginated.

Alfred Robaut, L'Œuvre complet de Eugène Delacroix: peintures, dessins, gravures, lithographies (Paris: Charavay Frères, 1885), no. 1217, pp. 327, 520, as Le Christ sur le lac de Génézareth.

Paul Flat and René Piot, Journal de Eugène Delacroix (Paris: Librairie Plon, 1893-1895), 2:175n1, 234n1, 236n1, 434-35n1; 3:182n5, as Le Christ sur le lac de Génézareth.

Eugène Delacroix: Katalog der Delacroix-Ausstellung in Berlin im Salon Paul Cassirer , exh. cat. (Berlin: Paul Cassirer, 1907), 24, 26, as Christ sur le lac de Génésareth.

Albert Acremont, “M. Denys Cochin: Historien, philosophe et député de Paris,” Excelsior, no. 94 (February 17, 1911): 4.

L’Eau , exh. cat. (Paris: Bernheim Jeune, 1911), unpaginated, as La barque.

Ausstellung von Meisterwerken aus Privatsammlungen im Museum Winterthur (Winterthur, Switzerland, 1922), 7, as Le Christ sur le lac de Génézareth.

“Parmi les Salles du Jeu de Paume: Les Peintures Suisses; Une collection suisse, celle de M. Georg Reinhart,” Comoedia, no. 3537 (August 22, 1922): 2.

Julius Meier-Graefe, Eugène Delacroix: Beiträge Zu Einer Analyse (Munich: R. Piper, 1922), 31, (repro.), as Christ sur le lac de Génésareth.

Octave Mirbeau, Des artistes 1. série 1885-1896: Peintres et sculpteurs (Paris: E. Flammarion, 1922), 25, as Barque du Christ.

Georg Reinhart, Katalog meiner Sammlung (Winterthur, Switzerland, 1922), 16, 57, (repro.), as Le Christ sur le lac de Génézareth.

Louis Geilly, “La Ville de mécènes: Winterthur,” L’Art et les artistes, no. 41 (November 1923): 138, (repro.), as Le Christ sur le lac de Genesareth [sic] .

Émile Verhaeren, Sensations (Paris: Les Éditions G. Crès et Cie, 1927), 160.

Possibly Charles Martine, Eugène Delacroix: 70 aquarelles, dessins, croquis reproduits (Paris: Helleu et Sergent, 1928).

Raymond Escholier, La Vie et l’Art Romantiques; Delacroix: Peintre, Graveur, Ecrivain , vol. 3 (Paris: H. Floury, 1929), 176, (repro.), as Christ sur le lac de Génézareth.

Paul Fierens, “Causerie artistique: La collection Oskar Reinhart à Winterthur,” Journal des débats politiques et littéraires, no. 360 (December 27, 1932): 3.

The Journal of Eugène Delacroix , trans. Walter Pach (New York: Covici, 1937), 27, 291, 388n31, as Christ on the Lake of Genesareth.

Possibly La peinture française du XIX siècle en Suisse: Exposition organisée par La Gazette des Beaux-Arts, exh. cat. (Zurich: Kunsthaus Zurich, 1938).

Eugène Delacroix, 1798-1863 , exh. cat. (Zurich: Kunsthaus Zürich, 1939), 53, (repro.), as Le Christ sur le lac de Génézareth.

Eugène Delacroix, 1798-1863 , exh. cat. (Basel, Switzerland: Kunsthalle Basel, 1939), 26, as Christus auf dem See Genezareth.

Der Unbekannte Winterthurer Privatbesitz, 1500-1900 , exh. cat. (Winterthur, Switzerland: Kunstverein Winterthur, 1942), 21, (repro.), as Le Christ sur le Lac de Génézareth.

Jean Cassou, “Les Demi-Dieux”: Delacroix (Paris: Editions du Dimanche, 1947), unpaginated.

Ulrich Christoffel, Eugène Delacroix (Munich: Bruckmann, 1951), 155.

Lee Johnson, Eugène Delacroix, 1798-1893, exh. cat. (Toronto: Art Gallery of Ontario, 1962), 45.

René Huyghe, “Delacroix et le theme de la Barque,”La Revue du Louvre et des musées de France, no. 2 (1963): 70, as Christ sur les eaux en fureur du Lac de Génésareth.

Felix Baumann and Hugo Wagner, eds., Eugène Delacroix, exh. cat. (Bern: Kunstmuseum Bern, 1963), unpaginated, asLe Christ sur le Lac de Génésareth and Christus auf dem See von Genezareth.

Centenaire d'Eugène Delacroix, 1798-1863 , exh. cat. (Paris: Ministère d’État, Affaires culturelles, 1963), 146-47.

René Huyghe, Eugène Delacroix, trans. Jonathan Griffin (London: Thames and Hudson, 1963), 469, as Christ on the Lake of Genesareth .

René Huyghe et al., Collection Génies et Réalités: Delacroix (Paris: Hachette, 1963), 226, as Christ sur le lac de Génézareth.

Possibly Sabine Savanne and Denis Milhau, Le rôle du dessin dans l’œuvre de Delacroix, exh. cat. (Paris: Éditions des musées nationaux, 1963), 94.

Maurice Sérullaz, Mémorial de l’exposition Eugène Delacroix, organisée au Musée du Louvre à l'occasion du centenaire de la mort de l’artiste , exh. cat. (Paris: Éditions des Musées Nationaux, Ministère d’État Affaires Culturelles, 1963), 340.

Delacroix: An exhibition of paintings, drawings, and lithographs , exh. cat. (London: Arts Council of Great Britain, 1964), 37.

Günter Busch et al., Eugène Delacroix: 1798-1863, exh. cat. (Bremen, Germany: Kunsthalle Bremen, 1964), 66.

René Huyghe, Delacroix, ou, le combat solitaire (Paris: Hachette, 1964), 164, 203, 475, as Christ sur les eaux en fureur du lac de Génésareth.

Corrado Maltese, Delacroix (Milan: Edizioni per il Club del libro, 1965), 175.

Alan Gowans, The Restless Art: A History of Painters and Painting, 1760-1960 (Philadelphia: J.B. Lippincott, 1966), 81, as Christ on the Sea of Galilee.

Charles Sterling and Margaretta M. Salinger, French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art , vol. 2 (New York: Metropolitan Museum of Art, 1966), 29.

Henriette Bessis, “L'inventaire apres deces d'Eugene Delacroix. Études et documents,” Bulletin de la Société de l'histoire de l'art français (1969): 215, as Jésus Christ dormant pendant la tempête.

Shûji Takashina, “Chronologie et sources de la série du ‘Christ sur la lac de Génésareth’ par E. Delacroix,” Bijutsushi: Journal of the Japan Art History Society 19, no. 3 (December 1969): 91, (repro.).

Frank Anderson Trapp, The Attainment of Delacroix (Baltimore: Johns Hopkins University Press, 1970), 18n32, 226, 233, as Christ on the Sea of Galilee.

Luigina Rossi Bortolatto, L’opera pittorica completa di Delacroix (Milan: Rizzoli Editore, 1972), no. 652, p. 125, (repro.), as Cristo e Gli Apostoli sul Lago di Gennesaret.

La Grande encyclopédie , vol.6 (Paris: Larousse, 1973), 3344, as Jésus sur le lac de Génésareth.

Jack J. Spector, Delacroix: The Death of Sardanapalus (London: Allen Lane, 1974), 103.

Patricia Pate Havlice, World Painting Index, vol. 1 (Metuchen, NJ: Scarecrow Press, 1977), 356, as Christ on the Sea of Galilee.

Lee Johnson, “Delacroix’s ‘Christ at the Column’,”Burlington Magazine 121, no. 920 (November 1979): 681, as Christ on the Sea of Galilee.

Maurice Sérullaz, Delacroix (Paris: Fernand Nathan, 1981), 136-37, 195, (repro.), as Le Christ sur le lac de Génézareth.

William R. Johnston, The Nineteenth Century Paintings in the Walters Art Gallery (Baltimore: Trustees of the Walters Art Gallery, 1982), 49, as Christ on the Sea of Galilee.

Nineteenth Century European Paintings, Drawings and Sculpture (London: Sotheby Parke Bernet, November 22, 1983), unpaginated, (repro.), as Le Christ sur le Lac de Génézareth.

Sue Bond, “Letter from London: Auctions; Tuesday 22 November: Sotheby’s,” Tableau: Fine Arts Magazine 6, no. 2 (November-December 1983): 95, (repro.), as Le Christ sur le Lac de Génézareth.

Frederik A. van Braam, World Collectors Annuary (Delft: Brouwer, 1983).

Luigina Rossi Bortolatto, Tout l’œuvre peint de Delacroix, trans. Simone Darses (Paris: Flammarion, 1984), no. 652, pp. 125, 139, as Le Christ sur le lac de Génézareth.

Nineteenth Century European Paintings, Drawings and Watercolours (London: Sotheby’s, November 26, 1985), unpaginated, (repro.), as Le Christ sur le lac de Génézareth.

Floralies 1986: Importants tableaux modernes (Versailles: Maître Georges Blache, June 11, 1986).

Lee Johnson, The Paintings of Eugène Delacroix: A Critical Catalogue (Oxford: Clarendon Press, 1986), no. 451, pp. 1:118; 3:232-35; 4: unpaginated, (repro.), as Christ on the Sea of Galilee.

Margret Stuffmann, Eugène Delacroix: Themen und Variationen: Arbeiten auf Papier, exh. cat. (Frankfurt am Main: Städtische Galerie im Städelschen Kunstinstitut Frankfurt am Main, 1987), 259, as Christus auf dem See Genezareth.

19th Century European Paintings, Drawings, Watercolors and Sculpture (New York: Christie’s, October 26, 1988), 112-13, (repro.), as Christ on the Sea of Galilee.

Advertisement, “Richard L. Feigen and Company, 14th to 20th Century Masters,” Burlington Magazine 131, no. 1031 (February 1989): xvi, (repro.), as Christ on the Sea of Galilee.

Donald Hoffmann, “A Small Treasure: Nelson Gallery Acquires its First Delacroix Painting,” Kansas City Star 109, no. 286 (August 20, 1989): [1]D, (repro.), as Christ on the Sea of Galilee.

Newsletter: Midwest Art History Society , no. 16B (Fall 1989): 11, (repro.), as Christ on the Sea of Galilee.

“New at the Nelson: Delacroix Painting is Superb Addition to Collection,” Calendar of Events (The Nelson-Atkins Museum of Art) (September 1989): 2-3, (repro.), as Christ on the Sea of Galilee.

Eugène Delacroix (1798-1863): Paintings and Drawings; Peter Paul Rubens (1577-1640): Three Oil Sketches , exh. cat. (New York: Salander-O'Reilly Galleries, 1989), 44-45, 65, (repro.), as Christ on the Sea of Galilee.

Hilton Kramer, “Union of Constable and Delacroix Displays Relation Between Two Masters,” New York Observer (January 15, 1990): as Christ on the Sea of Galilee.

John P. O’Neill, Eugène Delacroix (1798-1863): Paintings, Drawings, and Prints from North American Collections , exh. cat. (New York: Metropolitan Museum of Art, 1991), 72.

“Selected Acquisitions of European and American Paintings at the Nelson-Atkins Museum of Art, Kansas City, 1986-1990,” Burlington Magazine 133, no. 1055 (February 1991): 155-56, (repro.), as Christ on the Sea of Galilee.

“New at the Nelson: Diminutive Masterwork by Géricault Acquired,”Newsletter (The Nelson-Atkins Museum of Art) (May 1993): 2, as Christ on the Sea of Galilee.

Alice Thorson, “The Nelson Celebrates its 60th: Nelson Gallery built reputation virtually from ground zero,” Kansas City Star 113, no. 304 (July 18, 1993): J5.

Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art, 1933-1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 108-09, as Christ on the Sea of Galilee.

Alain Daguerre de Hureaux, Delacroix (Paris: Hazan, 1993), 232-33, 319, (repro.), as Le Christ sur le lac de Génézareth.

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collections (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 130, 202, 407, (repro.), as Christ on the Sea of Galilee.

David to Corot: French Drawings in the Fogg Art Museum (Cambridge, MA: Harvard University Press, 1994), 156, as Christ on the Lake of Genesareth.

Elspeth Davies, Portrait of Delacroix (Edinburgh: Pentland Press, 1994), 121.

Carlos A. Rosas, “Frame Up,” Town and Country 149, no. 5185 (October 1995): 58, (repro.).

Michèle Hannoosh, Painting and the Journal of Eugène Delacroix (Princeton: Princeton University Press, 1995), 68, as Christ on the Sea of Galilee.

Hubert Wellington, ed, Journal of Eugene Delacroix, trans. Lucy Norton (London: Phaidon, 1995), 549n70.

Hubert Wellington, ed., Painter of Passion: The Journal of Eugène Delacroix, trans. Lucy Norton (London: Folio Society, 1995), 234.

“Behind the Scenes: Several European Paintings to Travel,”Newsletter (The Nelson-Atkins Museum of Art) (October 1997): 4, as Christ on the Sea of Galilee.

Alice Thorson, “Traveling treasures: Some gallery favorites to go on tour as Nelson gears up for expansion,” Kansas City Star (December 13, 1997): E1.

Peter Rautmann, Delacroix, trans. Denis-Armand Canal and Lydie Échasseriaud (Paris: Citadelles et Mazenod, 1997), 292, 294-95, (repro.), as Esquisse pour “Le Christ sur le lac de Génésareth”.

Arlette Sérullaz et al., Delacroix: The Late Work, exh. cat. (Philadelphia: Philadelphia Museum of Art, 1998), 279-81, 286n2, 375, (repro.), as Christ on the Sea of Galilee.

Peter Rautmann, “Variations, reprises et séries,” in “Delacroix: Grand Maîtres,” special issue, Beaux Arts Magazine (April 1998): 38-39, (repro.), as Le Christ sur le lac de Génésareth.

Michael Kimmelman, “Art Review: Delacroix, That Skeptical Romantic,” New York Times 147, no. 51,277 (September 11, 1998): E36.

Nina Athanassoglou-Kallmyer, “Exhibition Reviews: Paris, Philadelphia and other venues Delacroix,” Burlington Magazine 140, no. 1148 (November 1998): 774.

Karen Wilkin, “The Glory of Our Age: Delacroix’s Late Work,”Hudson Review 51, no. 4 (Winter 1999): 726, as Christ on the Sea of Galilee.

Barthélémy Jobert, Delacroix, trans. Terry Grabar and Alexandra Bonfante-Warren (Princeton, NJ: Princeton University Press, 1998), 294-95, 326n136, (repro.), as Christ on the Sea of Galilee.

Dieter Schwarz, ed., Die Sammlung Georg Reinhart, exh. cat. (Winterthur: Kunstmuseum Winterthur, 1998), 12-13, 255, (repro.), as Le Christ sur le lac de Génézareth (esquisse).

Arlette Sérullaz and Annick Doutriaux, Delacroix: “une fête pour l’œil” (Paris: Découvertes Gallimard, 1998), 122-23, (repro.), as Le Christ sur le lac de Génézareth.

Gilles Néret, Eugène Delacroix, 1798-1863: Le prince des romantiques (Cologne: Taschen, 1999), 11, 14, (repro.), as Le Christ sur le lac de Génézareth.

Patricia Mainardi, “The 19th-century art trade: copies, variations, replicas,” Van Gogh Museum Journal (2000): 67, as Christ on the Sea of Galilee.

“Behind the Scenes: Museum’s European Paintings in Demand,”Newsletter (The Nelson-Atkins Museum of Art) (October 2000): 4, as Christ on the Sea of Galilee.

Anne-Birgitte Fonsmark and Thomas Lederballe, Delacroix: The Music of Painting, exh. cat. (Copenhagen: Ordrupgaard, 2000), 65, 136, (repro.), as Christ on the Sea of Galilee.

Sona K. and William R. Johnston, The Triumph of French Painting: Masterpieces from Ingres to Matisse (London: Scala, 2000), 52.

Alice Thorson, “Arts: Nelson curator of European art heading to Florida,” Kansas City Star 121, no. 336 (August 19, 2001): I4.

Alice Thorson, “Wanted: Curators for the Nelson–Ward’s departure leaves five–spots open in the middle of expansion project,” Kansas City Star 121, no. 343 (August 21, 2001): N1.

Eugène Delacroix , exh. cat. (Heidelberg, Germany: Kehrer Verlag Heidelberg, 2003), 63-64, 312-13, 314n2, (repro.), as Christus auf dem See Genezareth.

Howard Isham, Image of the Sea: Oceanic Consciousness in the Romantic Century (New York: Peter Lang, 2004), xiii, 174-76, (repro.), as Christ on the Sea of Galilee.

Arlette Sérullaz, Delacroix (Paris: Musée du Louvre, 2004), 89.

“Vibrant Galleries Offer Fresh View of European Art: Paintings, sculptures and decorative arts are integrated in rich new settings,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 7, as Christ on the Sea of Galilee.

Eik Kahng, ed., The Repeating Image: Multiples in French Painting from David to Matisse , exh. cat. (Baltimore: Walters Art Museum, 2007), 136, 138, 194, (repro.), as Christ on the Sea of Galilee.

Patricia Mainardi, “Reviews: Déjà Vu? Revealing Repetition in French Masterpieces,” Nineteenth-Century Art Worldwide 7, no. 1 (Spring 2008): 175, as Christ on the Sea of Galilee.

Possibly Leonard Robinson, William Etty: The Life and Art (Jefferson, NC: McFarland, 2007), 122, as Christ on the Sea of Genesareth.

Angela Schneider, Anke Daemgen, and Gary Tinterow, eds., Franzo ̈ sische Meisterwerke des 19. Jahrhunderts aus dem Metropolitan Museum of Art, New York , exh. cat. (Berlin: Nicolaische Verlagsbuchhandlung GmbH, 2007), 60, asChristus auf dem See Genezareth and Le Christ sur le lac de Génésareth.

Deborah Emont Scott, ed., The Nelson-Atkins Museum of Art: A Handbook of the Collection, 7th ed. (Kansas City, MO: Nelson-Atkins Museum of Art, 2008), 35, 113, 406, (repro.), as Christ on the Sea of Galilee.

Eugène Delacroix, Journal, ed. Michèle Hannoosh (Paris: José Corti, 2009), 1:684, 777n195; 2:1453n16, 1455n7, 2413, as Christ sur le lac de Génésareth.

19^th Century European Art Including Orientalist Art (London: Christie’s, June 15, 2011), 10.

Sébastien Allard, Delacroix (1798-1863): de l’idée à l’expression, exh. cat. (Madrid: El Viso, 2011), 53, 268, as Christ sur le lac de Génésareth.

Eik Kahng, Marc Gotlieb, and Michèle Hanoosh, Delacroix and the Matter of Finish, exh. cat. (Santa Barbara, CA: Santa Barbara Museum of Art, 2013), 38-40, 48n56, 145, (repro.), as Christ on the Sea of Galilee.

John Seed, “In Santa Barbara: A Masterfully Presented Delacroix Exhibition,” Huffpost Arts and Culture (November 17, 2013): unpaginated, (repro.).

John Dorfman, “Exhibitions: A Delacroix in California, The Santa Barbara Museum of Art Presents a Monographic Show of the Romantic French Master, Centering on a Recently Attributed Painting,” Art and Antiques (Winter 2013-2014): 38, (repro.), as Christ on the Sea of Galilee.

Patrick J. Noon and Christopher Riopelle, Delacroix and the Rise of Modern Art, exh. cat. (London: National Gallery Company, 2015), 166.

Catherine Futter et al., Bloch Galleries: Highlights from the Collection of the Nelson-Atkins Museum of Art (Kansas City, MO: Nelson-Atkins Museum of Art, 2016), 22-23, (repro.), as Christ on the Sea of Galilee.

Lukas Gloor and Sylvie Wuhrmann, Chefs-d’œuvre de la collection Bührle: Manet, Cézanne, Monet, Van Gogh… , exh. cat. (Lausanne, Switzerland: La Bibliothèque des arts, 2017), 48.

Sébastien Allard and Côme Fabre, Delacroix, exh. cat. (New York: Metropolitan Museum of Art, 2018), 193-94, 270n66.

Catherine Bedard, ed., Kent Monkman: Beauty and the Beasts, exh. cat. (Paris: Skira, 2018), 26, 50-51, 54, (repro.), as Christ on the Sea of Galilee.

Asher Ethan Miller, “Eugène Delacroix, Christ on the Sea of Galilee, 1853 or earlier,” catalogue entry, and Mary Schafer, “Eugène Delacroix, Christ on the Sea of Galilee, 1853 or earlier,” technical entry, in Aimee Marcereau DeGalan, ed., French Paintings, 1600–1945: The Collections of the Nelson-Atkins Museum of Art (Kansas City: The Nelson-Atkins Museum of Art, 2021), https://doi.org/10.37764/78973.5.512.5407.

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