Jo, the Irish Woman
Framed: 29 1/8 x 33 5/8 x 2 5/8 inches (73.99 x 85.42 x 6.68 cm)
- 126
Exposition des œuvres de G. Courbet à l'École des beaux-arts, École des Beaux-Arts, Paris, May 1882, no. 51, as La Jo, femme d'Irlande.
De David à Courbet, Galerie Bernheim-Jeune, Paris, January 1928, no cat., as la Belle Irlandaise.
A Century of French Painting: Exhibition Organised for the Benefit of the French Hospital of New York, Knoedler and Company, New York, November 12-December 8, 1928, no. 6, as La Belle Irlandaise.
Exhibition of French Painting from the Fifteenth Century to the Present Day, California Palace of the Legion of Honor, San Francisco, June 8-July 8, 1934, no. 81, as Portrait of a Girl (La Belle Irlandaise).
One Hundred Years of French Painting, 1820-1920, The Nelson-Atkins Museum of Art, Kansas City, MO, March 31-April 28, 1935, no. 9, as Portrait of Jo: La Belle Irlandaise.
An Exhibition of Paintings by Courbet, Baltimore Museum of Art, May 3-29, 1938, no. 17, as La Belle Irlandaise.
A Loan Exhibition of Gustave Courbet for the Benefit of American Aid to France and the Goddard Neighborhood Center, Wildenstein, New York, December 2, 1948-January 8, 1949, no. 31, as La Jo and La Belle Irlandaise.
Fine Arts Festival, Allyn Art Gallery, Southern Illinois University, Carbondale, IL, February 26-March 10, 1956, no. 7, as Portrait of Jo.
Paintings by Gustave Courbet, Rhode Island School of Design, Providence, RI, November 28, 1956-January 2, 1957, no cat.
Corot and His Contemporaries, Museum of Fine Arts, Houston, May 8-June 21, 1959, unnumbered, as La Belle Irlandaise.
The Image Lost and Found, Metropolitan Boston Arts Center, May-August 1960, no. 1, as Portrait of Jo.
From Realism to Symbolism: Whistler and His World, Wildenstein, New York, March 4-April 3, 1971; Philadelphia Museum of Art, April 15-May 23, 1971, no. 61, as Portrait of Jo (La Belle Irlandaise).
Ingres and Delacroix through Degas and Puvis de Chavannes: The Figure in French Art, 1800-1870, Shepherd Gallery, New York, May 20-June 28, 1975, no. 85, as La Belle Irlandaise (Portrait of Jo).
Hair, Cooper-Hewitt Museum, New York, June 10-August 17, 1980, unnumbered, as Portrait of Jo.
The Shock of Modernism in America: The Eight and Artists of the Armory Show, Nassau County Museum of Art, Roslyn Harbor, NY, April 29-July 29, 1984, no. 2, as Portrait of Jo.
Paris Cafés: Their role in the birth of Modern Art, Wildenstein, New York, November 13-December 20, 1985, unnumbered, as Portrait of Jo.
Courbet Reconsidered, Brooklyn Museum, New York, November 4, 1988-January 16, 1989; Minneapolis Institute of Arts, February 18-April 30, 1989, no. 56, as Portrait of Jo, the Beautiful Irish Girl.
Gustave Courbet (1819-1877): Later Paintings, Salander-O'Reilly Galleries, New York, January 6-February 28, 1998; Nassau County Museum of Art, Roslyn Harbor, NY, March 7-May 29, 1998, no. 9, as Portrait of Jo, The Beautiful Irish Girl (Portrait de Jo, la belle Irlandaise
This canvas celebrates Gustave Courbet’s feeling for his subject Jo Hiffernan, whom he affectionately called “the beautiful Irish woman.” He painted the portrait shortly after meeting Hiffernan, the studio model and mistress of the American painter James McNeill Whistler, during the summer of 1865. As the composition was incredibly popular with Courbet’s middle-class patrons, he painted four almost identical versions around 1866, including this one. He kept one of the portraits until his death, making copies from it upon request.
Purchased from the artist, through Gustave Chaudey (1817-1871), by Paul-Désiré Trouillebert (1831-1900), Paris, by September 19, 1868-1900 [1];
Possibly inherited by his wife, Marie-Joséphine Trouillebert (née Lambert, 1845-1921), Paris, June 28, 1900-1921 [2];
A. de Lavit, Paris, by 1928 [3];
With Alex Reid and Lefèvre Ltd., London, by December 1928-1929 [4];
Purchased from Alex Reid and Lefèvre by Scott and Fowles, New York, stock no. 833, July 11, 1929-April 1, 1932 [5];
Purchased from Scott and Fowles, New York, through Findlay Galleries, Kansas City, through Harold Woodbury Parsons, by the Nelson-Atkins Museum of Art, Kansas City, MO, 1932.
NOTES:
[1] See letter from Gustave Chaudey, Paris, to Gustave Courbet, Ornans, September 19, 1868, published in "Trois lettres inédites de Chaudey adressées à Courbet," Les amis de Gustave Courbet, no. 50 (1973): 8-9. Chaudey reports taking Trouillebert to Courbet's atelier to retrieve the painting. Furthermore, in the Trouillebert catalogue raisonné, the authors state that Chaudey facilitated the sale of our painting to Trouillebert: "This transaction was arranged through their joint friend Chaudey and took place in the Cabaret Dinocheau." See Claude Marumo, Thomas Maier, and Bernd Müllerschön, Paul Désiré Trouillebert, 1831-1900: Catalogue Raisonné de l'œuvre peint (Stuttgart: Edition Thombe, 2004), 54. In his 1978 Courbet catalogue raisonné, Robert Fernier mistakenly stated that our picture was sold by Durand-Ruel, Paris, in 1881, citing information he had received from NAMA curatorial staff. However, Durand-Ruel has no record of having owned our painting. See email from Flavie Durand-Ruel to Aimee Marcereau DeGalan, NAMA, November 16, 2017, NAMA curatorial files.
[2] "Madame Veuve Trouillebert" is listed as the owner of the painting in both the École des Beaux-Arts exhibition catalogue (1882) and Alexandre Estignard's monograph on Courbet (1897). Confusion exists over who "Madame Veuve Trouillebert" is. In the Courbet catalogue raisonné, Robert Fernier assumed she was Paul-Désiré Trouillebert's widow, but Trouillebert did not pass away until 1900. This has led some to suggest that "Madame Veuve Trouillebert" was Paul-Désiré's mother, Louise Trouillebert (née Robert, b. 1788); see Sotheby's sales catalogue, 19th Century European Paintings and Sculpture, November 2, 2001, cat. 101. Although Louise was a widow by 1855, she would have been approximately 109-years-old in 1897, making it unlikely that she was still the owner of the painting. The owner might have been another female relation, although not a sister since Paul-Désiré was an only child. Trouillebert was married twice: his first marriage to Clémentine-Louise Legoussat Saint-Edmé (1850-1930) on January 30, 1868 lasted only 18 months, though their divorce was not finalized until July 28 (or possibly August 1), 1885. (For the second date, see Le Radical, August 2, 1885). Trouillebert took Marie-Joséphine Lambert (1845-1921) as his second wife on August 3, 1885; see Georges Lanoë, Histoire de l'Ecole Française de Paysage depuis Chintreuil jusqu'à 1900 (Nantes: Société Nantaise d'Éditions), 202n3. Since Paul-Désiré Trouillebert was alive until 1900, and there is no evidence that he gave the picture to anyone, it is most likely that his second wife inherited the work when he passed away in 1900. Indeed, at her posthumous sale in 1921, she still had some of his property, although the Courbet painting was not sold at this time. See Tableaux par Paul-Désiré Trouillebert et provenant de son atelier, objets d'art et d'ameublement anciens et modernes ... meubles et sièges dont la vente, par suite du décès de Madame Trouillebert (Paris: Hôtel Drouot, November 23-24, 1921).
[3] According to a paper label on the backing board, "M. de Lavit" loaned the painting to Galerie Bernheim-Jeune in 1928 for the Exposition G. Courbet. When the Nelson-Atkins purchased the painting in 1932, Scott and Fowles indicated that the painting had previously belonged to "Mr. A. de. L., Paris." One possibility for this constituent is Alexandre de Lavit (1862-1932), the head counsel for the state railway. His wife was Jeanne-Augustine-Alexandrine-Léonie (née Trouillebert, 1871-1919), but research has not uncovered any familial relationship between Jeanne-Augustine-Alexandrine-Léonie Trouillebert and the painting's first owner, Paul-Désiré Trouillebert.
[4] Alex Reid and Lefèvre is listed as the owner of the painting in "Notable Works of Art Now on the Market," The Burlington Magazine 53, no. 309 (December 1928).
[5] See correspondence from Ernest A. Lefèvre to Stevenson Scott, Esq., July 11, 1929, NAMA curatorial files. See correspondence from Harold Woodbury Parsons, NAMA art advisor, to R. A. Holland, Director, Kansas City Art Institute, April 14, 1931, NAMA curatorial files. A paper label on the backing board records the Scott and Fowles stock number.
“Gustave
Courbet to James McNeill Whistler, February 14, 1877,” The Correspondence of
James McNeill Whistler, 1855-1903, eds. Margaret F.
MacDonald, Patricia de Montfort and Nigel Thorp (1877; Glasgow: University of Glasgow, 2003-2010), accessed
2018-02-18, http://www.whistler.arts.gla.ac.uk/correspondence, n4,
as Portrait de Jo, la belle Irlandaise.
Possibly Henry A. d’Ideville, Gustave Courbet: notes et documents sur sa vie et son ɶuvre (Paris:
Librairie Parisienne, 1878), unpaginated, (repro.), as Un Portrait.
Exposition des œuvres de G. Courbet à l’École des beaux-arts, exh. cat. (Paris: Imprimerie Émile Martinet, 1882), 51, as La Jo, femme d’Irlande.
Alexandre Estignard, Courbet: sa vie, ses œuvres (Besançon, France: Maison Delagrange et Magnus, 1897), 179, as Portrait d’Io [sic], la Belle Irlandaise.
Possibly Henri Baillière, La Rue Hautefeuille: Son histoire et ses habitants (propriétaires et locataires), 1252-1901, contribution a [sic] l’histoire des rues de Paris (Paris: J.-B. Baillière et fils, 1901), 350, as Belle Irlandaise.
Georges Riat, Gustave Courbet: Peintre (Paris: H. Floury, 1906), 229, 254, 259, 262, as La Belle Irlandaise.
Possibly Bernhard Sickert, Whistler (London: Duckworth, 1908), 12, as L’Irlandaise.
Possibly
Maurice Robin, Portraits d’Hier: Courbet
(Paris: Fabre, 1909), 349, as la Belle
Irlandaise.
Possibly Elizabeth Robins and Joseph Pennell, The Life of James McNeill Whistler, vol. 1 (Philadelphia: J.B. Lippincott, 1909), 95, 134, as La Belle Irlandaise or Jo, femme d’Irlande.
Possibly Gustave Courbet: huit reproductions fac-simile en couleurs (Paris: Pierre Lafitte, 1910), 59, as la Belle Irlandaise.
Léonce Bénédite, Courbet (Philadelphia: J.B. Lippencott, 1913), 75-76, as La Belle Irlandaise.
Théodore Duret, Histoire de J. Mc N. Whistler et de son œuvre (Paris: H. Floury, 1914), 15, as Jo, femme d’Irlande.
Possibly Bryson Burroughs, Loan Exhibition of the Works of Gustave Courbet, exh. cat. (New York: Metropolitan Museum of Art, 1919), 9.
Isabella Errera, Répertoire des peintures datées (Brussels: Librairie nationale d’art et d’histoire, G. Van Oest et Cie, 1921), 764, as Belle Irlandaise.
Elizabeth Robins Pennell and Joseph Pennell, The Whistler Journal (Philadelphia: J. B. Lippincott, 1921), 162, as Les Irlandaises.
Possibly André Fontainas and Louis Vauxcelles, Histoire générale de l’art français de la Révolution à nos jours, vol. 1, La peinture, la gravure, le dessin (Paris: Librairie de France, 1922), 90, 94, as la Belle Irlandaise Jô.
Possibly “L’art et les artistes: Courbet,” Revue d’Art de France et de l’Etranger, no. 80 (October 1927): 24, as Jo, la belle Irlandaise.
Raymond Bouyer, “Les Expositions: I. A Travers les galeries—De David à Courbet,” La Revue de l'art ancien et moderne 53, no. 292 (January 1928): 82, as la Belle Irlandaise.
“Notable Works of Art Now on the Market,” The Burlington Magazine 53, no. 309 (December 1928): (repro.), as La Belle Irlandaise.
A Century of French Painting: Exhibition Organised for the Benefit of the French Hospital of New York, exh. cat. (New York: M. Knoedler, 1928), unpaginated, as La Belle Irlandaise.
“Art Show to Aid A Hospital Here: Examples of “A Century of French Painting” Will Be Placed on View Tomorrow. Fifty-Two Canvases in All; Andrew W. Mellon Will Lend a Corot—Millet Work From the P.A.B Widener Collection,” New York Times 78, no. 25,859 (November 11, 1928): N5, as La Belle Irlandaise.
Richard Le Gallienne, “That Human Hornet, Mr. James McNeill Whistler: James Laver’s Biography of the Great Etcher and Eccentric Places Him in Excellent Perspective,” The New York Times 80, no. 26,622 (December 14, 1930): BR30, as La Belle Irlandaise.
Possibly Elizabeth Robins Pennell, Whistler: The Friend (Philadelphia: J.B. Lippencott, 1930), 82, as La Belle Irlandaise.
Possibly Aurier, “Sur Trois Toiles de Courbet: Vénus et Psyché, Paresse et Luxure, L’Origine du Monde,” Mercure de France 230, no. 798 (September 15, 1931): 602, as Jo, femme de l’Irlande.
Reginald Howard Wilenski, French Painting (Boston: Hale, Cushman and Flint, 1931), 224n2, as La Belle Irlandaise.
“A Warning in Art Talk: Hearers Detect a Reminder in a Remark by Parsons; Politics Cannot Mix with Artistic Spirit, He Says; Shows Slides of the Masters; A Limoges Enamel Displayed,” The Kansas City Times 95, no. 16 (January 19, 1932): 3, as La Belle Irlandaiss [sic].
Minna K. Powell, “Whistler’s ‘White Girl’ Posed for Portrait May Be in Nelson Collection,” The Kansas City Star 52, no. 138 (February 2, 1932): D, (repro.), as La Belle Irlandaise.
“Kansas City Adds Important Works to its Holdings: Works
Recently Bought for the William Rockhill Nelson Trust All Secured from Leading
New York Dealers,” The Art News 30,
no. 30 (April 23, 1932): 8, as La Belle
Irlandaise.
The Art News 30, no. 31 (April 30, 1932): 13, (repro.), as La Belle Irlandaise.
“Kansas City Art Museum Adds Important Pictures to Collection,” The Art Digest 6, no. 15 (May 1, 1932): 4, (repro.), as La Belle Irlandaise.
M[inna] K. P[owell], “Art: The Coming of Whistler’s “Portrait of the Artist’s Mother” to the William Rockhill Nelson Gallery of Art Next December Brings Joy to Art Lovers Here,” The Kansas City Star 53, no. 155 (February 19, 1933): 8A, as La Belle Irlandaise and Jo.
M[inna] K. P[owell], “Daumier, Greatest of All the French Artists, Unsung in his Own Country,” The Kansas City Star 53, no. 233 (May 8, 1933): C[14].
Possibly Claude Roger-Marx, “Renoir,” Mercure de France 244, no. 840 (June 15,
1933): 568, as Jô.
“Nelson Gallery of Art Special Number,” The
Art Digest 8, no. 5 (December 1, 1933): 13, 21, 27, (repro.), as Portrait of an Irish Girl and La Belle Irlandaise.
Alfred M. Frankfurter, “The Paintings in the William Rockhill Nelson Gallery of Art,” The Art News 32, no. 10 (December 9, 1933): 30, 45 (repro.), as La Belle Irlandaise.
Minna K. Powell, “The First Exhibition of the Great Art Treasures: Paintings and Sculpture, Tapestries and Panels, Period Rooms and Beautiful Galleries Are Revealed in the Collections Now Housed in the Nelson-Atkins Museum; Some of the Rare Objects and Pictures Described,” The Kansas City Star 54, no. 84 (December 10, 1933): 4C, as Jo.
“$15,000,000 Nelson Art Gallery Opens: Gift of Kansas City Star Publisher‒Museum Has Many Innovations,” Boston Evening Transcript 104, no. 288 (December 11, 1933): 11.
“Art Critics View Nelson Gallery: Preview of Edifice, Costing $15,000,000 with Contents, Held at Kansas City; Filled With Treasures; Classical Structure on Landscaped Tract Provides All Comforts for Visitors,” The New York Times 83, no. 27,715 (December 11, 1933): 24.
“Nelson Gallery of Art Opened at Kansas City:
$14,000,000 Gift of ‘Star’ Publisher and His Heirs Already Fully Furnished; Has
Many Innovations; Oriental, Roman, Colonial Objects World Famous,” New York Herald Tribune 93, no. 31,802
(December 11, 1933): 12, as La Belle
Irlandaise.
Luigi
Vaiani, “Art Dream Becomes Reality with Official Gallery Opening at Hand:
Critic Views Wide Collection of Beauty as Public Prepares to Pay its First
Visit to Museum,” Kansas City
Journal-Post 80, no. 187 (December 11, 1933): 7, as Labelle [sic] Irlandaise.
“Nelson
Gallery of Art Opens,” Editor and
Publisher 66, no. 31 (December 16, 1933): 10.
Paul V. Beckley, “Art News,” Kansas City Journal-Post 80, no. 193 (December 17, 1933): 2C, as La Belle Irlandaise.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Handbook of the William Rockhill Nelson Gallery of Art (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1933), 41, 49, 136, (repro.) as Portrait of an Irish Girl.
Ellen Josephine Green, “Among the Fine Arts,” The Musical
Bulletin 22, no. 4 (January 1934): 9.
A.J. Philpott, “Kansas City Now in Art Center Class: Nelson Gallery, Just Opened, Contains Remarkable Collection of Paintings, Both Foreign and American,” The Boston Sunday Globe 125, no. 14 (January 14, 1934): 16.
Possibly “Whistler’s Jo,” The Art Digest 8 (July 1, 1934): 13, as La Belle Irlandaise.
“Art: A Self-Portrait of Whistler Is a Late Addition to the William Rockhill Nelson Gallery of Art and Atkins Museum—Week’s Schedule of Art,” The Kansas City Star 55, no. 27 (October 14, 1934): 5B.
Ellen Josephine Green, “The Fine Arts,” The Musical Bulletin 23, no. 2 (November 1934): 8, as La Belle Irlandaise.
M[inna] K. P[owell], “In Gallery and Studio: News and Views of the Week in Art,” The Kansas City Star 55, no. 53 (November 9, 1934): 23.
Exhibition of French Painting from the Fifteenth Century to the Present Day, exh. cat. (San Francisco: California Palace of the Legion of Honor, 1934), 47, as Portrait of a Girl (La Belle Irlandaise).
Paul V. Beckley, “Art News,” The Kansas City Journal-Post 81, no. 197 (April 7, 1935): 8B.
One Hundred Years French Painting, 1820-1920, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1935), unpaginated, as Portrait of Jo: La Belle Irlandaise.
M[inna] K. P[owell], “In Gallery and Studio: News and Views of the Week in Art,” The Kansas City Star 55, no. 186 (March 22, 1935): unpaginated.
Ellen Josephine Green, “Among the Fine Arts,” Musical Bulletin (April 1936), clipping, Scrapbooks, NAMA Archives, as Portrait of an Irish Girl.
Possibly Gustave Courbet, exh. cat. (London: Mayor Gallery, 1936), unpaginated, as La Jo.
An Exhibition of Paintings by Courbet, exh. cat. (Baltimore: Baltimore Museum of Art, 1938), unpaginated, (repro.), as La Belle Irlandaise.
George Boas, “Courbet and the Naturalistic Movement,” Parnassus 10, no. 4 (April 1938): 11, as
La Belle Irlandaise.
Possibly James Laver, Treasures of Art: Paintings by James McNeill Whistler (London: Studio, 1938), unpaginated, as La Belle Irlandaise.
“Know Your Gallery…No. 5 of a Series,” The Kansas City Star 60, no. 196 (March 31, 1940): 10D, (repro.), as Portrait of Jo.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 2nd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1941), 41, 50, 168, (repro.), as Portrait of Jo.
John Rewald, The History of Impressionism (New York: Museum of Modern Art, 1946), 113, 117, (repro.), as Jo, the Beautiful Irish Girl (Whistler’s Mistress).
A Loan Exhibition of Gustave Courbet: For the Benefit of American Aid to France and the Goddard Neighborhood Center, exh. cat. (New York: Wildenstein, 1948), 20, 38, 43, 45, (repro.), as La Jo and La Belle Irlandaise.
Possibly Charles Léger, Courbet et Son Temps (Lettres et Documents inédits) (Paris: Éditions Universelles, 1948), 107, as La Belle Irlandaise.
w.a., “Paintings Get Faces Lifted In Studio at Nelson Gallery: As Restorer and Technical Adviser, James Roth Keeps Paintings in Top Condition—Detecting Fraudulent Canvases All Part of Day’s Work,” The Kansas City Star 69, no. 210 (April 15, 1949): 15.
Courbet: Exposition du 130e anniversaire de sa naissance, 10 juin 1819-10 juin 1949, au profit des “Amis de Gustave Courbet,” exh. cat. (Paris: Galerie Alfred Daber, 1949), unpaginated, as La Belle Irlandaise.
Possibly Marie Luise Kaschnitz, Gustave Courbet (Baden-Baden, Germany: Woldemar Klein Verlag, 1949), 99, 104, 128, as femme d’Irlande.
The William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, The William Rockhill Nelson Collection, 3rd ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1949), 64, (repro.), as Portrait of Jo.
Possibly Jiří Kotalík, G. Courbet (Prague: Praha Tvar, 1950), 33, as Mladá Irčanka Io.
James Laver, Whistler, 2nd ed. (London: Faber and Faber, 1951), 67, (repro.), as La Belle Irlandaise (Jo).
Gerstle Mack, Gustave Courbet (New York: Alfred A. Knopf, 1951), xiv, 204, (repro.), as The Beautiful Irishwoman.
Possibly Pierre Mac Orlan, “Les Demi-Dieux”: Courbet (Paris: Éditions du Dimanche, 1951), unpaginated.
Hesketh Pearson, The Man Whistler (New York: Harper and Brothers, 1952), 31.
Winifred Shields, “Look First, Listen Later is His Advice to Art Students: In a New Book, ‘Oh! Fickle Taste,’ Germain Seligman Urges the Direct Approach for Those Who Would Understand Painting; Changing Fads a Theme,” The Kansas City Star 73, no. 128 (January 23, 1953): 16, (repro.), as Portrait of Jo.
Possibly Gustave Courbet, 1819-1877, exh. cat. (London: Marlborough Fine Art, 1953), 12, as Jo, femme d’Irlande.
La femme dans l’art français, exh. cat. (Brussels: Palais des beaux-arts, 1953), unpaginated.
Adriana Albini, ed., Courbet: Alla XXVII Biennale di Venezia, exh. cat. (Venice: Lombroso Editore, 1954), unpaginated.
Possibly Madeleine Rocher-Jauneau, Courbet. Exposition organisée sous l'égide du Syndicat d'initiative de Lyon, exh. cat. (Lyon: Musée de Lyon, 1954), unpaginated, as Belle Irlandaise.
Possibly Frederick A. Sweet, Sargent, Whistler and Mary Cassatt, exh. cat. (Chicago: Art Institute of Chicago, 1954), 78, as La Belle Irlandaise.
Martine Ecalle and Suzanne Kahn, G. Courbet, exh. cat. (Paris: Petit Palais, 1955), unpaginated.
Thomas Craven, The Rainbow Book of Art (Cleveland: World Publishing, 1956), 199, 204, (repro.), as Beautiful Irishwoman and Portrait of Jo.
Fine Arts Festival, exh. cat. ([Carbondale:
Southern Illinois University, 1956]), unpaginated, as Portrait of Jo.
Isabel Stevenson Monro and Kate M. Monro, Index to Reproductions of European Paintings: A guide to pictures in more than three hundred books (New York: H. W. Wilson, 1956), 147, as Jo, the beautiful Irish girl.
Possibly “The Model Enthroned,” The Times, no. 54,426 (April 4, 1959): 7, as La Belle Irlandaise.
Corot and His Contemporaries, exh. cat. (Houston: Museum of Fine Arts, 1959), unpaginated, as La Belle Irlandaise.
Possibly Horace Gregory, The World of James McNeill Whistler (New York: Thomas Nelson and Sons, 1959), 85, as La Belle Irlandaise.
Gustave Courbet, 1819-1877, exh. cat. (Philadelphia: Philadelphia Museum of Art, 1959), unpaginated.
Ross E. Taggart, ed., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 4th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1959), 119, 260, (repro.), as La Belle Irlandaise (Portrait of Jo).
The Image Lost and Found, exh. cat. (Boston: Institute of Contemporary Art, 1960), 7, 9-10, 47, (repro.), as Portrait of Jo.
Possibly Jean Vallery-Radot, Prélude à Whistler: James McNeill Whistler; peintre et graveur, 1834-1903, exh. cat. (Paris: Centre Culturel Américain, 1961), unpaginated, as La Belle Irlandaise.
Gustave Courbet, exh. cat. (Bern: Kunstmuseum Bern, 1962), unpaginated.
Denys Sutton, Nocturne: The Art of James McNeill Whistler (London: Country Life,
1963), 52, 52n2, as The Woman in the
Mirror.
Henry C. Haskell, “Scanning the Arts,” The Kansas City Star 86, no. 65 (November 21, 1965): [1]D.
Possibly Courbet dans les collections privées françaises: Exposition organisée au profit du Musée Courbet, exh. cat. (Paris: Galerie Claude Aubry, 1966), unpaginated, as Jo l’Irlandaise.
Possibly Jean-Paul Crespelle, Les maîtres de la belle époque (Paris: Librairie Hachette, 1966), 185.
Laura Malvano, The Masters, vol. 77, Gustave Courbet (London: Knowledge, 1966), 8.
Charles Sterling and Margaretta M. Salinger, French Paintings: A Catalogue of the Collection of the Metropolitan Museum of Art, vol. 2, XIX Century (New York: Metropolitan Museum of Art, 1966), 128-29.
Possibly Denys Sutton, James McNeill Whistler: Paintings, Etchings, Pastels and Watercolours (London: Phaidon, 1966), 187, as La Belle Irlandaise.
Possibly John A. Mahey, “The Letters of James McNeill Whistler to George A. Lucas,” The Art Bulletin 49, no. 3 (September 1967): 249n12, as La belle irlandaise or Jo, femme d’Irlande.
Possibly George Boas, ed., Courbet and the Naturalistic Movement: Essays read at the Baltimore Museum of Art, May 16, 17, 18, 1938 (New York: Russell and Russell, 1967), 148, as La Belle Irlandaise.
Possibly Robert Fernier, Gustave Courbet (New York: Frederick A. Praeger, 1969), 10, as Jo, an Irishwoman.
Michel Laclotte, Palma Bucarelli, and Hélène Toussaint, Gustave Courbet (1819-1877): Mostra all’Accademia di Francia, Villa Medici, exh. cat. (Rome: De Luca Editore, 1969), XXXI, as Jo, la belle irlandaise.
“Recent Accessions of American and Canadian Museums: July-September 1969,” The Art Quarterly 33, no. 1 (1970): 86, 93, (repro.), as Portrait of Jo.
Possibly Tom Prideaux, The World of Whistler, 1834-1903 (Fairfax, VA: Time-Life Books, 1970), 42, as La Belle Irlandaise (The Beautiful Irish Girl).
Alastair Grieve, “Whistler and the Pre-Raphaelites,” The Art Quarterly 34, no. 2 (Summer 1971): 222, 224n33, 228, (repro.), as Jo, the Beautiful Irish Girl and Portrait of Jo.
André Fermigier, Courbet (Geneva: Skira, 1971), 9, 95, 98, as Jo l’Irlandaise.
From Realism to Symbolism:
Whistler and His World,
exh. cat. (New York: Columbia
University, 1971), 15, 22, 69, 123, (repro.),
as Portrait of Jo (La Belle Irlandaise).
Sandra Pinto, Courbet, trans. Diane Goldrei (London: Thames and Hudson, 1971), 38.
“Trois lettres inédites de Chaudey adressées à Courbet,” Bulletin: Les Amis de Gustave Courbet, no. 50 (1973): 8, (repro.), as Jo, la belle Irlandaise and Femme Rouge.
Donald Hoffmann, “The Nelson Gallery 40 Years (and More) Seeking Beauty,” The Kansas City Star 94, no. 83 (December 9, 1973): 4E, as Portrait of Jo.
Roy McMullen, Victorian Outsider: A Biography of J. A. M. Whistler (New York: E.P. Dutton, 1973), 132, as La Belle Irlandaise and Jo.
Ross E. Taggart and George L. McKenna, eds., Handbook of the Collections in the William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, Kansas City, Missouri, vol. 1, Art of the Occident, 5th ed. (Kansas City, MO: William Rockhill Nelson Gallery of Art and Mary Atkins Museum of Fine Arts, 1973), 158, 257, (repro.), as Portrait of Jo.
Possibly Gustave Courbet, exh. cat. (Rochechouart, France: Centre Artistique et Litteraire de Rochechouart, 1974), unpaginated, as Jo, Femme d’Irlande.
Stanley Weintraub, Whistler: A Biography (New York: Weybright and Talley, 1974), 117, 463.
Martin L. H. Reymert et al., Ingres and Delacroix through Degas and Puvis de Chavannes: The Figure in French Art 1800-1870, exh. cat. (New York: Shepherd Gallery, 1975), 203-04, (repro.), as La Belle Irlandaise (Portrait of Jo).
Robert H. Getscher, The Stamp of Whistler, exh. cat. (Oberlin, OH: Allen Memorial Art Museum, Oberlin College, 1977), 41, as La Belle Irlandaise.
Robert Fernier, La vie et l’œuvre de Gustave Courbet: Catalogue raisonné (Lausanne: Bibliothèque des arts, 1978), no. 539, pp. 1: 244; 2: 12-13, (repro.), as Jo, Femme d’Irlande.
Gordon H. Fleming, The Young Whistler, 1834-66 (London: George Allen and Unwin, 1978), 224, (repro.), as Portrait of Joanna Hiffernan, La Belle Irlandaise, and The Woman in the Mirror.
Werner Hofmann and Klaus Herding, eds., Courbet und Deutschland, exh. cat. (Hamburg: Hamburger Kunsthalle, 1978), 236.
Possibly Edward G. Kennedy, The Etched Work of Whistler (San Francisco: Alan Wofsy Fine Arts, 1978), unpaginated, as La Belle Irlandaise.
Sophie Monneret, L' impressionisme et son époque, vol. 1 (Paris: Editions Denoël, 1978), 149.
Hélène Toussaint, Gustave Courbet, 1819-1877, exh. cat. (London: Arts Council of Great Britain, 1978), 164.
John D. Morse, Old Master Paintings in North America: Over 3000 Masterpieces by 50 Great Artists (New York: Abbeville Press, 1979), 70, as Portrait of Jo.
Anthea Callen, Courbet (London: Jupiter Books, 1980), 92.
Hair, exh. cat. (New York: Cooper-Hewitt Museum, 1980), 18, (repro.), as Portrait of Jo.
Sandra Pinto, Courbet (Paris: Les petits classiques de l’art, Flammarion, 1980), 38.
Possibly Andrew McLaren Young, Margaret F. MacDonald, and Robin Spencer, The Paintings of James McNeill Whistler, vol. 1 (New Haven, CT: Yale University Press, 1980), p. lx, as La Belle Irlandaise.
Possibly James McNeill Whistler, 1834-1903: Etchings including a Complete Thames Set, Etchings from the Venice Sets, French Sets, and Rare Single Plates, exh. cat. (London: William Weston Gallery, 1981), unpaginated, as La Belle Irlandaise.
Pierre Chessex, Courbet et la Suisse, exh. cat. (La Tour-de-Peilz, Switzerland: Château de La Tour-de-Peilz, 1982), 53.
Donald Hoffmann, “A fresh look at the Nelson: Painting, rearranging give new perspective to exhibits,” The Kansas City Star 104, no. 78 (December 18, 1983): 3-I.
Tom L. Freudenheim, ed., American Museum Guides: Fine Arts; A Critical Handbook to the Finest Collections in the United States (New York: Collier, 1983), 112.
Phoebe Lloyd, “Anna Whistler the Venerable,” Art in America 72, no. 10 (November 1984): 142, 144, 151n24, 151n27, (repro.), as La Belle Irlandaise.
Donald Hoffmann, “Government role criticized: Art journal,” The Kansas City Star 105, no. 58 (November 25, 1984): 7F, as The Irish Belle and Portrait of Jo.
Constance H. Schwartz, The Shock of Modernism in America: The Eight and Artists of the Armory Show, exh. cat. (New York: Nassau County Museum of Fine Art, 1984), 7, (repro.), as Portrait of Jo.
Nancy Mowll Mathews, “Beauty, Truth, and the Artist’s Mirror: A Drypoint by Mary Cassatt,” Source: Notes in the History of Art 4, no. 2/3 (Winter/Spring 1985): 76.
Georges Bernier, Paris Cafés: Their Role in the Birth of Modern Art (New York: Wildenstein, 1985), 15, 118, (repro.), as Jo, Femme d’Irlande (Portrait of Jo).
Possibly Pierre Cabanne, Whistler, trans. Nicholas Max Jennings (New York: Crown, 1985), 40.
Pierre Courthion, L’opera completa di Courbet, trans. Marina Anzil Robertini (Milan: Rizzoli Editore, 1985), 102, 139, 142, (repro.), as Jo, donna d’Irlanda.
George T. M. Shackelford and Mary Tavener Holmes, A Magic Mirror: The Portrait in France, 1700-1900, exh. cat. (Houston: Museum of Fine Arts, 1986), 100, 136.
Possibly François Fossier, Whistler graveur, exh. cat. (Paris: Éditions de la Réunion des
musées nationaux, 1987), 9, as Belle
Irlandaise.
Martin J. Hopkinson, James McNeill Whistler, ed., Denys Sutton, exh. cat. (Tokyo: Yomiuri Shimbun, 1987), 23.
Possibly Dorothy M. Kosinski, “Gustave Courbet’s The Sleepers: The Lesbian Image in Nineteenth-Century French Art and Literature,” Artibus et Historiae 9, no. 18 (1988): 187, as La Belle Irlandaise.
Sarah Faunce and Linda Nochlin, Courbet Reconsidered, exh. cat. (New York: Brooklyn Museum, 1988), 85, 163, 165-66, 228n19, 244, (repro.), as Portrait of Jo, the Beautiful Irish Girl.
Sarah Faunce and Linda Nochlin, Courbet Reconsidered (New York: Brooklyn Museum, 1988), unpaginated.
Klaus Herding, “Brooklyn and Minneapolis: Courbet reconsidered,” The Burlington Magazine 131, no. 1032 (March 1989): 244, as Jo, the beautiful Irish girl.
Michael Fried, Courbet’s Realism (Chicago: University of Chicago Press, 1990), 272-73, 337n25, 338n26, as Portrait of Jo.
Possibly Jean-Jacques Fernier, Les yeux plus secrets: Gustave Courbet, La naissance du monde 1866; André Masson, 56 dessins erotiques de 1921 à 1970; Le roman de Mathilde, correspondence avec Courbet 1873, exh. cat. (Ornans, France: Musée Maison Natale Gustave Courbet, 1991), 13, 19, as Jo l’Irlandaise.
Petra ten-Doesschate Chu, ed. and trans., Letters of Gustave Courbet (Chicago: University of Chicago Press, 1992), 602n2, 677, as Portrait of Jo and The Beautiful Irishwoman.
Alice Thorson, “The Nelson celebrates its 60th; Museum built its reputation, collection virtually ‘from scratch’,” The Kansas City Star (July 18, 1993): J1.
Possibly Avis Berman, First
Impressions: James McNeill Whistler (New York:
Harry N. Abrams, 1993), 46.
Bonjour Monsieur Buffet!, exh. cat. (Ornans, France: Musée Gustave Courbet, 1993), unpaginated.
Sarah Faunce, Gustave Courbet (New York: Harry N. Abrams, 1993), 108.
Possibly Bernadette Caille-Lepeut, ed., L’âme au corps: arts et sciences, 1793-1993, exh. cat. (Paris: Réunion des musées nationaux, 1993), 297, as Jo, la belle Irlandaise.
Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, 1993), 204, (repro.), as Portrait of Jo.
Possibly Pierre Cabanne, Whistler (Vaduz, Liechtenstein: Bonfini, 1994), 28.
Richard Dorment and Margaret F. MacDonald, James McNeill Whistler, exh. cat. (1994; repr. New York: Harry N. Abrams, 1995), 74, 308, as La Belle Irlandaise.
Possibly Anne Koval, Whistler in His Time, exh. cat. (London: Tate Gallery Publications, 1994), 77, as La Belle Irlandaise.
Jean-Louis
Andral, “Whistler,” Connaissance des arts
67, no. 514 (February 1995): 62.
Paul B. Crapo, “Art and Politics in the Côte-d'Or: Gustave Courbet's Dijon exhibition of May 1870,” French History 9, no. 3 (September 1995): 331, as The Beautiful Irish Girl.
Ronald Anderson and Anne Koval, James McNeill Whistler: Beyond the Myth (New York: Carroll and Graf, 1995), 154, 482n20, as Portrait de Jo, la belle irlandaise.
Patrick Chaleyssin, James McNeill Whistler: The Strident Cry of the Butterfly (Bournemouth, UK: Parkstone, 1995), 19, as La Belle Irlandaise [The Beautiful Irish Girl] and Jo, Femme d’Irlande [Jo, A Woman of Ireland].
Possibly Patricia Pate Havlice, World Painting Index: Second Supplement, 1980-1989, vol. 2, Titles of Works and Their Painters (Metuchen: Scarecrow Press, 1995), 1602, as Portrait of Jo.
Possibly Edgar Munhall, Whistler and Montesquiou: The Butterfly and the Bat (New York: Frick Collection, 1995), 20, as La Belle irlandaise.
Jean-Jacques Fernier, “L’Origine du Monde, nouvelle manière suite sans fin…,” Bulletin: Les Amis de Gustave Courbet, no. 94-95 (1996): 29, as Jo, l’Irlandaise.
Jean-Jacques Fernier, ed., Courbet, l’amour; Baltasar Lobo, sculptures; Christian Welter, un regard amoureux, exh. cat. (Ornans, France: l’Association des Amis de Gustave Courbet, 1996), 28, 130, as Jo, l’Irlandaise.
Stéphane Guégan and Michèle Haddad, L'ABCdaire de Courbet et le réalisme (Paris: Flammarion, 1996), 49.
Kathleen Pyne, Art and the Higher Life: Painting and Evolutionary Thought in Late Nineteenth-Century America (Austin: University of Texas Press, 1996), x, 99-100, 322n27, (repro.), as Portrait of Jo.
Beat Wismer, ed., El Greco bis Mondrian: Bilder aus einer Schweizer Privatsammlung, exh. cat. (Cologne: Wienand Verlag, 1996), 66, 67n21.
“Several European Paintings to Travel,” Newsletter (The Nelson-Atkins Museum of Art) (October 1997): 4, (repro.), as Portrait of Jo.
Alice Thorson, “Traveling treasures Some gallery favorites to go on tour as Nelson gears up for expansion,” The Kansas City Star (December 13, 1997): E1.
James H. Rubin, Courbet (London: Phaidon, 1997), 201, as Jo, the Beautiful Irish Girl.
Andrew Wilton and Robert Upstone, eds., The Age of Rossetti, Burne-Jones and Watts: Symbolism in Britain, 1860-1910, exh. cat. (Paris: Flammarion, 1997), 106-07.
Isabelle de Wavrin, “New York: moins de tableaux, plus d’acheteurs,” Beaux Arts Magazine, no. 170 (July 1998): 94, as Portrait de Jo, la belle Irlandaise.
Constance Schwartz, Jean-Jacques Fernier, and Clement Greenberg, Gustave Courbet (1819-1877): Later Paintings, exh. cat. (New York: Salander-O’Reilly Galleries, 1998), 24-25, 73 (repro.), as Portrait of Jo, The Beautiful Irish Girl (Portrait de Jo, la belle Irlandaise).
Hilton Kramer, “Salander-O’Reilly Mounts Incredible Courbet Show,” The New York Observer (January 19, 1998): 26, as Portrait of Jo, the Beautiful Irish Girl.
Roger Kimball, “Exhibitions 2‒Courbet: Later Paintings (Salander-O’Reilly Galleries, New York till 28 February); Stunning surprises,” The Spectator 280, no. 8842 (January 24, 1998): 42, as Portrait of Jo, the Beautiful Irish Girl.
“Giants Standing Tall: Chagall and Courbet,” The New York Times 147, no. 51,104 (March 22, 1998): L116, (repro.), as Portrait of Jo, the Beautiful Irish Girl.
Possibly Linda Merrill, The Peacock Room: A Cultural Biography (Washington, D.C.: Freer Gallery of Art, 1998), 44, as La Belle Irlandaise.
Paintings from the Rolf and Margit Weinberg Collection (New York: Sotheby’s, 1998), 14, 16, (repro.), as Portrait de Jo, la Belle Irlandaise.
Carol Vogel, “Inside Art: Of the Voluptuous And the Dead,” The New York Times 147, no. 51, 109 (March 27, 1998): E36.
P. J. and E[ric] T[ariant], “Monet et Van Gogh très courtisés à New York: Les dernières ventes de Christie’s et Sotheby’s enregistrent des prix en hausse pour l’art moderne,” Le Journal des Arts, no. 62 (June 5, 1998): 29.
Gilles Plazy, Gustave Courbet: un peintre en liberté, biographie (Paris: le cherche midi éditeur, 1998), 172-73, 181, 264.
Jörg Zutter and Petra ten-Doesschate Chu, Courbet: artiste et promoteur de son ɶuvre, exh. cat. (Paris: Flammarion, 1998), 141.
Colin Harrison, “Exhibition Reviews: Courbet for collectors,” Apollo 149, no. 447 (May 1999): 53, as Jo, la belle Irlandaise.
Patricia Mainardi, “Copies, Variations, Replicas: Nineteenth-Century Studio Practice,” Visual Resource: An International Journal of Documentation 15, no. 2 (1999): 140, 143, (repro.), as Portrait of Jo and Jo, La Belle Irlandaise.
André Le Vot, Gustave Courbet: Au-delà de la Pastorale ou La tentation de saint Gustave (Paris: L’Harmattan, 1999), 73n48.
Patricia Mainardi, “The 19th-century art trade: copies, variations, replicas,” Van Gogh Museum Journal (2000): 70, 71n38, 72, (repro.), as Jo, la belle Irlandaise.
Anne Midgette, “The Good the Bad…and the Fake,” ARTnews 99, no. 5 (May 2000): 214, 216, as Portrait de Jo, La Belle Irlandaise.
Jill Beaulieu, Mary Roberts, and Toni Ross, eds., Refracting Vision: essays on the writings of Michael Fried (Sydney: Power Publications, 2000), 220-21, 239n25, as Portrait of Jo.
19th Century European Paintings and Sculpture (New York: Sotheby's, November 2, 2001), 120-21, as Portrait of Jo.
Nicola Minich, Gustave Courbet in Künstlerromanen (Taunusstein, Germany: Verlag Dr. H.H. Driesen GmbH, 2001), 135.
Michèle Haddad, Courbet (Paris: Editions Jean-Paul Gisserot, 2002), 52, 75, as Portrait de Jo, la Belle Irlandaise.
Yoichiro Ide, Marie-Hélène Lavallée, and Sarah Faunce, The Courbet Exhibition: A Painter with Hunter’s Eye, exh. cat. (Tokyo: Mainichi Broadcasting System, 2002), 17, as La belle Irlandaise.
David Fraser Jenkins and Avis Berman, Whistler, Sargent, and Steer: Impressionists in London from the Tate Collections, exh. cat. (Nashville, TN: Frist Center for the Visual Arts, 2002), 15.
Klaus Harding, “Courbet, (Jean-Désiré-) Gustave,” Grove Art Online (2003), http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000019891?rskey=tZSy0X&result=1, as Jo: The Beautiful Irish Girl.
Margaret F. MacDonald, “Whistler, James (Abbott) McNeill,” Grove Art Online (2003), http://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000091375?rskey=LJSXiE&result=1, as La Belle Irlandaise.
Valérie Bajou, Courbet (Paris: Adam Biro, 2003), 338.
Possibly Jean-Jacques Fernier et al., De Nus et des nues: ou les aventures de la Percheronne, exh. cat. (Ornans: Musée Courbet, 2003), 153, as Jo, la belle Irlandaise.
Margaret F. MacDonald et al. Whistler, Women and Fashion, exh. cat. (New York: Frick Collection, 2003), 224n10, as La Belle Irlandaise.
Sarah Walden, Whistler and his Mother: An Unexpected Relationship; Secrets of an American Masterpiece (London: Gibson Square: 2003), 84.
Patrick Chaleyssin, James McNeill Whistler (Hoo, Kent, UK: Grange Books, 2004), 19, as La Belle Irlandaise (The Beautiful Irish Girl) and Jo, Femme d’Irlande (Jo, A Woman of Ireland).
Claude Marumo, Thomas Maier, and Bernd Müllerschön, Paul Désiré Trouillebert, 1831-1900: Catalogue Raisonné de l’œuvre peint (Stuttgart, Germany: Edition Thombe, 2004), 20, 54, 88, 193, 197, 201, as Jo, femme d’Irlande and Jo, l’irlandaise.
Possibly Fabrice Masanès, Gustave Courbet: Biographie (Paris: Séguier, 2004), 43, as Jo, la belle Irlandaise.
Possibly Michel Ragon, Gustave Courbet: Peintre de la liberté (Paris: Librairie Arthème Fayard, 2004), 298.
John Rewald, Inshou ha no rekishi = The History of Impressionism (Tokyo: Kadokawa Gakugei Shuppan, 2004), 118, (repro.).
Nicholas Daly, “The Woman in White: Whistler, Hiffernan, Courbet, Du Maurier,” Modernism/modernity 12, no. 1 (January 2005): 20, as Jo, Femme D’Irlande.
Possibly Simon Poë, “Irish imperialism: Confident and glamorous, émigrés from Ireland enriched the culture of Victorian England,” New Statesman 18, no. 850 (March 14, 2005): 44, as La Belle Irlandaise.
Phyllis Tuchman, “Painted Ladies: Some Standout Portraits of the Women Artists Love,” Town and Country 159, no. 5303 (August 2005): 70, (repro.), as Portrait of Jo.
Michel-Claude Jalard, Le Tombeau de Gustave Courbet ou l'enchantement du réel (Monaco: Éditions du Rocher, 2005), 150, 253, as Jo, femme d’Irlande ou la Belle Irlandaise.
“Vibrant Galleries Offer Fresh View of European Art,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 7, as Portrait of Jo.
Pontus Grate and Per Hedström, French Paintings III: Nineteenth Century (Stockholm: Nationalmuseum, 2006), 97-99, 100n3, (repro.), as The Beautiful Irish Girl.
Thierry Savatier, L’origine du monde: histoire d’un tableau de Gustave Courbet (Paris: Bartillat, 2006), 57, 57n7, 64, as Jo l’Irlandaise.
Possibly Michèle Haddad, Gustave Courbet: Peinture et histoire (Sainte-Croix, Switzerland: presses du Belvédere, 2007), 138-39, 168, as Jo, la belle Irlandaise.
Manuel Jover, Courbet (Paris: Éditions Terrail, 2007), 196.
Eik Kahng, ed., The Repeating Image: Multiples in French Painting from David to Matisse, exh. cat. (Baltimore: Walters Art Museum, 2007), 97, 123n29.
Possibly Stéphane Laurent, Le rayonnement de Gustave Courbet: un fondateur du réalisme en Europe et en Amérique (Paris: L’Harmattan, 2007), 153, as Jo la belle Irlandaise.
Marie-Hélène Lavallée and Bérangère Galy, Gustave Courbet, d’Ornans (Gollion, Switzerland: Infolio éditions, 2007), 141, as La Belle irlandaise.
Thomas Schlesser, Courbet: Un peintre à contre-temps (Paris: Éditions Scala, 2007), 77, 116.
Thomas Schlesser, Réceptions de Courbet: Fantasmes réalistes et paradoxes de la démocratie (1848-1871) (Dijon: les presses du réel, 2007), 27, 40, 42, 45n75, as Jo, femme d’Irlande (La belle Irlandaise).
Angela Schneider, Anke Daemgen, and Gary Tinterow, eds., Französische Meisterwerke des 19. Jahrhunderts aus dem Metropolitan Museum of Art, New York, exh. cat. (Berlin: Nicolai, 2007), 94.
Possibly Jean-Luc Steinmetz, Gustave Courbet (Paris: Éditions Virgile, 2007), 95, as Jo l’Irlandaise.
Bernard Teyssèdre, Le roman de l’Origine, rev. ed. (Paris: Éditions Gallimard, 2007), 57, 337, 338, 371, 373, 463, 505, 530, as Portrait de Jo au miroir and La Femme au miroir.
Patricia Mainardi, “Déjà Vu? Revealing Repetition in French Masterpieces,” Nineteenth-Century Art Worldwide 7, no. 1 (Spring 2008): 8, as Portrait of Jo.
Possibly Susan Morgan, “double vision: How Two Sisters from Pasadena Who Couldn’t Be More Out Of Fashion Came To Be Its Next Big Thing,” The New York Times 157, no. 54,426 (September 7, 2008): A76, as Jo, La Belle Irlandaise.
Ségolène Le Men, Courbet (New York: Abbeville, 2008), 184, 286, 324, as Jo, the Beautiful Irishwoman.
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), 116, (repro.), as Portrait of Jo.
Gary Tinterow et al., Gustave Courbet, exh. cat. (New York: Metropolitan Museum of Art, 2008), 333.
Possibly Daniel Chambet, “Courbet, écran total,” Bulletin: Les Amis de Gustave Courbet, no. 111 (March 2010): 94, as Jo la belle Irlandaise.
Suzanne P. Cole, “Eye Level: Captivating Image Has Timeless Appeal,” The Kansas City Star Magazine, supplement, The Kansas City Star 130, no. 255 (May 30, 2010): S3, (repro.), as Portrait of Jo.
Possibly Jean-Pierre Ferrini, “La Familière étrangeté de Gustave Courbet,” Bulletin: Les Amis de Gustave Courbet, no. 112 (February 2011): 17, as Jo la belle Irlandaise.
Jean-Jacques Fernier and Carine Joly, eds., “Une aventure passionnée: Gustave Courbet; l’hommage de ses amis,” Bulletin: Les Amis de Gustave Courbet, Hors-série, no. 113 (August 2011): 12, as Jo la belle Irlandaise.
Allen Staley, The New Painting of the 1860s: Between the Pre-Raphaelites and the Aesthetic Movement (New Haven, CT: Yale University Press, 2011), 169-70, as Jo, La Belle Irlandaise.
Frédérique Thomas-Maurin, Courbet/Clésinger: œuvres croisées, exh. cat. (Doubs, France: Musée Gustave Courbet, 2011), 157.
Frédérique Thomas-Maurin and Julie Delmas, Musée Gustave Courbet Ornans, exh. cat. (Besançon, France: Éditions du Sekoya, 2011), 95.
Alice Thorson, “Replicating the Master: Redheads Fascinated Painter,” The Kansas City Star 132, no. 365 (September 16, 2012): D1, D3, (repro.), as Portrait of Jo.
Viviane Alix-Leborgne, “Gustave Courbet expose à Dijon,” Bulletin: Les Amis de Gustave Courbet, no. 114 (December 2012): 20, as Belle Irlandaise.
Alice Thorson, “Kansas City art in 2012: Sights to remember-Nelson’s ‘World’s Fair,’ rooftop ‘Prairie Logic’ are among 2012 highlights,” The Kansas City Star (December 26, 2012): unpaginated, as Portrait of Jo.
Frances Dickey, The Modern Portrait Poem: From Dante Gabriel Rossetti to Ezra Pound (Charlottesville, VA: University of Virginia Press, 2012), 106-07.
Stanley Whitney and David Reed, “Stanley Whitney,” BOMB, no. 123 (Spring 2013): 46, as Portrait of Jo (la belle Irlandaise).
Possibly Claude-Roland Marchand, “Courbet et les phanères,” Bulletin: Les Amis de Gustave Courbet, no. 115 (December 2013): 78, as Jo la belle Irlandaise.
Jeffery Howe, ed., Courbet: Mapping Realism; Paintings from the Royal Museums of Fine Arts of Belgium and American Collections, exh. cat. (Chestnut Hill, MA: McMullen Museum of Art, Boston College, 2013), 14, as Jo, the Beautiful Irishwoman.
Jacques-Sylvain Klein, Lumières normandes: Les hauts-lieux de l’Impressionnisme (Rouen: éditions Point de vues, 2013), 180, as Jo, la belle Irlandaise.
Thierry Savatier, Courbet: une révolution érotique (Paris: Bartillat, 2014), 61, 87, 114-15, 115n1, 116-17, as Jo, Femme d’Irlande and Jo, la belle Irlandaise.
Possibly Daniel E. Sutherland, Whistler: A Life for Art’s Sake (New Haven, CT: Yale University Press, 2014), 94.
Possibly J.B. Bullen, “Whistler myths: Book Review, Donald E. Sutherland, ‘Whistler: A Life for Art’s Sake’,” Apollo 179, no. 618 (March 2014): 197, as Jo, La Belle Irlandaise.
Frédérique Thomas-Maurin, Julie Delmas, and Élise Boudon, Cet obscur objet de désirs. Autour de L’Origine du monde, exh. cat. (Paris: LienArt éditions, 2014), 13, 19n9, as Jo, la belle Irlandaise.
Hervé Novelli, ed., “L’Origine du monde, mise à nu,” Bulletin: Les Amis de Gustave Courbet, Hors-série (May 2014): 6, 13-14, 61, 83-84, (repro.), as Jo, l’Irlandaise and La belle Irlandaise.
Justin McCann, ed., Whistler and the World: The Lunder Collection of James McNeill Whistler at the Colby College Museum of Art, exh. cat. (Waterville, ME: Colby College Museum of Art, 2015), 58, as La Belle Irlandaise.
Frédérique Thomas-Maurin, Musée Gustave Courbet, Ornans (Besançon, France: Éditions du Sékoya, 2015), 103.
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), 40-41, (repro.), as Jo, the Beautiful Irish Woman.
James H. Rubin and Patrick Matthiesen, Gustave Courbet: Mother and Child on a Hammock and Courbet in Love and Productive Disappointment, exh. cat. (London: Matthiesen Gallery, 2016), 58n45.
Yves Sarfati, L’anti-origine du monde: comment Whistler a tué Courbet (Dijon, France: Les presses du reel, 2017), 20, 27.
Possibly Suzanne Singletary, James McNeill Whistler and France: A Dialogue in Paint, Poetry, and Music (London: Routledge, 2017), 92, as Jo, La Belle Irlandaise.
Thomas Schlesser, Frédérique Thomas-Maurin, and Henri Loyrette, Yan Pei-Ming face à Courbet: Musée Courbet à Ornans, exh. cat. (Ornans, France: Musée Gustave Courbet, 2019).
Nicole R. Myers, “Gustave Courbet, Jo, the Irish Woman, ca. 1866–1868,” catalogue entry, and Mary Schafer, “Gustave Courbet, Jo, the Irish Woman, ca. 1866–1868,” 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/10.37764/78973.5.506.5407.
Cynthia Close, “The Woman in White: Joanna Hiffernan's Influence on James Whistler,”ArtandObject.com (August 16, 2021): https://www.artandobject.com/articles/woman-white-joanna-hiffernans-influence-james-whistler, as Jo, the Beautiful Irish Girl.
Thomas W. Hodgkinson, “Timeless allure of the ‘scarlet’ woman in white: Whistler’s 7ft masterpiece of his mistress is the star of a major new exhibition. But did painting it send him mad... and kill her?,” DailyMail.co.uk (February 10, 2022): https://www.dailymail.co.uk/femail/article-10500455/Whistlers-7ft-masterpiece-mistress-star-major-new-exhibition.html.
Jonathan Jones, “Whistler’s Woman in White: Joanna Hiffernan – raw, boozy, sexual slices of real life and love,” The Guardian (February 23, 2022): https://www.theguardian.com/artanddesign/2022/feb/23/whistlers-woman-in-white-joanna-hiffernan-raw-boozy-sexual-slices-of-real-life-and-love.
“Whistler’s Symphony in White Royal Academy,” Artlyst (February 26, 2022): https://artlyst.com/reviews/whistlers-symphony-in-white-royal-academy/.
“The Best Photos of the Day,” Artdaily.com (February 28, 2022): https://artdaily.cc/index.asp?int_sec=5,
(repro.).
