Signed and dated (lower left): .Gustave Moreau .64.

Paris. Salon. May 1, 1864–?, no. 1388 (as "Œdipe et le sphinx").

Galerie de la société des amis des arts de Bordeaux. "Salon des amis des arts de Bordeaux," 1865, no. 395 [see Ref. Dussol 1997].

Paris. Galerie Mollien, Louvre. "Gustave Moreau," June 1–September 30, 1961, no. 10.

New York. Museum of Modern Art. "Odilon Redon, Gustave Moreau, Rodolphe Bresdin," December 4, 1961–February 4, 1962, no. 175.

Art Institute of Chicago. "Odilon Redon, Gustave Moreau, Rodolphe Bresdin," March 2–April 15, 1962, no. 175.

Los Angeles County Museum of Art. "Gustave Moreau," July 16–September 1, 1974, no. 28.

San Francisco. California Palace of the Legion of Honor. "Gustave Moreau," September 14–November 3, 1974, no. 28.

Philadelphia Museum of Art. "The Second Empire, 1852–1870: Art in France under Napoleon III," October 1–November 26, 1978, no. VI-93 (lent by the estate of Germain Seligman, New York).

Detroit Institute of Arts. "The Second Empire, 1852–1870: Art in France under Napoleon III," January 15–March 18, 1979, no. VI-93.

Paris. Galeries Nationales du Grand Palais. "L'art en France sous le Second Empire," May 11–August 13, 1979, no. 261.

Kunsthaus Zürich. "Gustave Moreau: Symboliste," March 14–May 25, 1986, no. 19.

Paris. Galeries Nationales du Grand Palais. "Gustave Moreau: Between Epic and Dream," September 29, 1998–January 4, 1999, no. 28.

Art Institute of Chicago. "Gustave Moreau: Between Epic and Dream," February 13–April 25, 1999, no. 28.

New York. The Metropolitan Museum of Art. "Gustave Moreau: Between Epic and Dream," June 1–August 22, 1999, no. 28.

Museum of Fine Arts, Houston. "The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920," February 4–May 6, 2007, no. 45.

Berlin. Neue Nationalgalerie. "Französische Meisterwerke des 19.Jahrhunderts aus dem Metropolitan Museum of Art, New York," June 1–October 7, 2007, unnumbered cat.

Gustave Moreau. Letter to Eugène Fromentin. October 18, 1862 [printed in Ref. Wright 1995, pp. 1266–67].

Edmond About. Salon de 1864. Paris, 1864, pp. 137–42.

F. Aubert. Le Pays (1864) [see Ref. Sterling and Salinger 1967].

Louis Auvray. Exposition des beaux-arts: Salon de 1864. Paris, 1864, pp. 54–57 [see Ref. Sterling and Salinger 1967].

"Old Noll". "Des tendances de l'art contemporain, à l'occasion de l'Exposition des beaux-arts de 1864." Annales de la charité (Revue d'économie chrétienne) 6 (May 1864), pp. 883–902 [reprinted in Ref. Lacambre 1997, p. 109].

A. Cantaloube. "Salon de 1864: La peinture." Nouvelle revue de Paris 3 (June 15, 1864), pp. 602–7.

Cham. "Une promenade au salon." Le charivari (1864) [reprinted in Ref. Léger 1920, p. 54].

Jules Claretie. "Salon de 1864: Le salon des refusés." L'Artiste 2 (June 30, 1864), p. 4.

Charles Clément. "Exposition de 1864 (Troisiéme article)." Journal des débats politiques et littéraires (May 12, 1864), pp. 1–?.

Hector de Callias. "Salon de 1864: Les quarante médailles." L'Artiste 1 (May 15, 1864), p. 219.

Théophile Gautier. Le moniteur universel (May 27, 1864), p. 766 [see Ref. Sterling and Salinger 1967].

Théophile Gautier. La presse (May 5, 1864) [see Ref. Girard 1994].

Engraving by Gillot Sc. L'Artiste, 8th ser., 1 (June 10, 1864), pp. 24–25.

Léon Lagrange. "Le Salon de 1864." Gazette des beaux-arts 16 (1864), pp. 506–8, ill. (opp. p. 506).

Paul de Saint-Victor. La presse (May 9, 1864) [reprinted in Ref. Lacambre 1997, p. 108].

Paul de Saint-Victor. La presse (May 7, 1864) [see Ref. Sterling and Salinger 1967].

Théophile Gautier. Le moniteur universel (July 9, 1865) [reprinted in Ref. Girard 1994, p. 321].

Maxime du Camp. Les beaux-arts à l'exposition universelle et aux salons de 1863, 1864, 1865, 1866 & 1867. Paris, 1867, pp. 109–19.

Paul Mantz. "Les beaux-arts à l'exposition universelle." Gazette des beaux-arts (October 1867), p. 330.

Ernest Chesneau. Les nations rivales dans l'art. Paris, 1868, pp. 181–99, 203, 206–7.

Théophile Gautier. Journal officiel 53 (June 20, 1869) [see Ref. Girard 1997].

T. Thoré. Salons de W. Bürger 1861 à 1868. 2, Paris, 1870, pp. 14–19.

Claude Phillips. "Gustave Moreau." Magazine of Art 8 (1885), p. 230.

Jules Breton. Nos peintres du siècle. Paris, [189?], p. 178.

[Jules] Castagnary. Salons (1857–1870). Paris, 1892, vol. 1, pp. 196–202.

G. W. The Pageant. London, 1897, pp. 5, 13–14, ill.

Odilon Redon. Letter to Mme de Holstein. January 29, 1900 [reprinted in Ref. Redon 1923, p. 38].

Ary Renan. Gustave Moreau, 1826–1898. Paris, 1900, pp. 27, 45, 49–52, 131, 133, ill. opp. p. 40 (engraving).

Édouard Schuré. "L'Oedipe de Gustave Moreau." La revue de Paris no. 23 (1900), pp. 617–18.

Abbé Loisel. L'inspiration chrétienne du peintre Gustave Moreau. Paris, 1912, p. 28.

Mario Praz. The Romantic Agony. London, 1933, pp. 295–96.

Joseph C. Sloane. French Painting Between the Past and the Present: Artists, Critics, and Traditions, from 1848 to 1870. [reprint 1973]. Princeton, 1951, pp. xii, 171–72, 174–76, fig. 68.

Bettina Polak. Het Fin-de-Siècle in de Nederlandse Shilderkunst: De symolistische beweging 1890–1900. The Hague, 1955, pp. 38–39.

Ragnar von Holten. "Oedipe et le sphinx: Gustave Moreau genombrottsverk." Tidskrift för Konstvetenskap: Symbolister. 32, Malmö, Sweden, 1957, pp. 37–50, ill.

Ragnar von Holten. L'art fantastique de Gustave Moreau. Paris, 1960, pp. 2–9, 13, fig. 6.

Dore Ashton. Odilon Redon, Gustave Moreau, Rodolphe Bresdin. Exh. cat., Museum of Modern Art. New York, 1961, pp. 113, 115, 179, no. 175, ill.

Charles Sterling and Margaretta M. Salinger. "XIX–XX Centuries." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 3, New York, 1967, pp. 1–5, ill.

Jean Paladilhe. Gustave Moreau. Paris, 1971, pp. 95, 97, 99, 102, 110–11, 137, ill.

Henri Dorra. "The Guesser Guessed: Gustave Moreau's Œdipus." Gazette des beaux-arts 81 (March 1973), pp. 129–140, ill.

René Huyghe Lydie Huyghe in La Relève du réel: la peinture française au XIXe siècle: impressionnisme, symbolisme. Paris, 1974, pp. 267, 297, 452, ill.

Julius Kaplan. Gustave Moreau. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 1974, pp. 22–24, 26, 32–33, 41, 53, 80, 129–30, no. 28, ill.

Peter Hahlbrock. Gustave Moreau oder Das Unbehagen in der Natur. Berlin, 1976, pp. 29, 49–54, 91–92, 101–3, 108, 121, 143, 153, 171–72, 174–75, 180–81, no. 36 (overall and detail).

Pierre-Louis Mathieu. Gustave Moreau: With a catalogue of finished paintings, watercolors and drawings. Boston, 1976, pp. 14, 18, 28, 70, 81–85, 94, 110–11, 128, 130, 197, 241, 257, 269 n. 312, pp. 284, 305, no. 64, ill. (color and b&w).

Hans H. Hofstätter. Gustave Moreau: Leben und Werk. 1978, pp. 24, 70–72, 81, colorpl. 9.

Monique Halm-Tisserant. "La sphinx amoureuse: Un schéma grec dans l'œuvre de G. Moreau." Revue des archéologues et historiens d'art de Louvain 14 (1981), pp. 30–68, fig. 2.

Roy McMullen. Degas: His Life, Times, and Work. Boston, 1984, p. 107.

Geneviève Lacambre Pierre-Louis Mathieu in Gustave Moreau, Symboliste. Exh. cat., Kunsthaus Zürich. Zürich, 1986, pp. 11, 16, 21, 30, 32–33, 37, 39, 70–102, 124–25, 300, 325, no. 19, ill. (color).

Pierre-Louis Mathieu. Tout l'œuvre peint de Gustave Moreau. Paris, 1991, pp. 5, 8–9, 68, 87, no. 105, fig. 105, colorpl. VIII.

Pierre-Louis Mathieu. Gustave Moreau. Paris, 1994, pp. 9, 48, 72–79, 81, 83, 90, 110–11, 132, 139, 191, 264–65, 269, 277 n. 5–6, p. 278 nn. 24–30, p. 280 n. 60, p. 287 n. 63, p. 288 n. 15, 292, ill. (color).

Michael Fried. Manet's Modernism: or, The Face of Painting in the 1860s. Chicago, 1996, pp. 10, 164, 308–12, 314–17, 577 nn. 125–26, p. 578 nn. 129, 133, colorpl. 14.

Julius Kaplan in The Dictionary of Art. 22, New York, 1996, p. 89.

Dominique Dussol. Art et bourgeoisie: La société des amis des arts de Bordeaux (1851–1939). Bordeaux, 1997, pp. 17, 150, 159, 269.

Pierre-Louis Mathieu. Gustave Moreau: Monographie et nouveau catalogue de l'œuvre achevé. Paris, 1998, pp. 50–51, 150, 190, 238, 294, no. 75, ill. (color and b&w).

Geneviève Lacambre. Gustave Moreau: Between Epic and Dream. Exh. cat., Galeries nationales du Grand Palais, Paris. Chicago, 1999, pp. 2, 16, 75, 77–83 n. 17, p. 84 nn. 20–22, 27, pp. 92, 94, 99, 106, 108, 127, 196, 222, 282, no. 28, ill. (color, overall and detail) [French ed., 1998].

J.-M. Moret. "Gustave Moreau et l'antiquité." La lettre de la maison de l'Orient 21 (Spring 2000), pp. 4–5, fig. 1.

Peter Cooke. "Gustave Moreau's 'Œdipus and the sphinx': archaism, temptation and the nude at the Salon of 1864." Burlington Magazine 146 (September 2004), pp. 609–15, fig. 18.

Atsuko Ogane. La Genèse de la danse de Salomé: L'"Appareil scientifique" et la symbolique polyvalente dans "Hérodias" de Flaubert. Tokyo, 2006, pp. 185–87, 251, colorpl. X.

Kathryn Calley Galitz in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 68–69, 243, no. 45, ill. (overall and detail, color and bw).

Kathryn Calley Galitz in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 73, 286, no. 67, ill. (color and bw).

Geneviève Lacambre in Il Simbolismo da Moreau a Gauguin a Klimt. Exh. cat., Palazzo dei Diamanti. Ferrara, 2007, p. 190.

Scott C. Allan. "Interrogating Gustave Moreau's Sphinx: Myth as Artistic Metaphor in the 1864 Salon." Nineteenth-Century Art Worldwide. 7, Spring 2008, pp. 1–21, fig. 1 (color).

Peter Cooke. "Gustave Moreau and the Reinvention of History Painting." Art Bulletin 90 (September 2008), pp. 394, 399–405, 408, 410–11, 433 n. 33, ill. cover (color detail) and fig. 7.

Peter Cooke. "Symbolism, Decadence and Gustave Moreau." Burlington Magazine 151 (May 2009), pp. 312, 316, ill. p. 282 and fig. 36 (color, overall and detail).