References Mr. A. B. C. D. . . . Ah! Ah! ou relation véritable . . . de la conversation . . . au sallon du Louvre, en examinant les tableaux qui y sont exposés . 1787, p. 13 [Collection Deloynes, vol. 15, no. 386, p. 585].Année littéraire ([1787]) [Collection Deloynes, vol. 15, no. 397, pp. 863–65].Lanlaire au salon académique de peinture . 1787, p. 24 [Collection Deloynes, vol. 15, no. 375, p. 244].Le cousin Jacques hors du sallon; folie sans conséquence à l'occasion des tableaux exposés au Louvre en 1787 . 1787, pp. 45–47 [Collection Deloynes, vol. 15, no. 389, pp. 661–63].The World (October 2, 1787) [the original article is reprinted in Ref. Bordes 1992; however Ref. David 1880 and other scholars erroneously identified the author as Sir Joshua Reynolds, who appears to have translated the article into broken French and mailed it to David].Mercure de France ([1787]) [Collection Deloynes, vol. 15, no. 396, pp. 836–38, transcribed from edition of September 1787, p. 177].Examen des critiques qui ont été publiées sur l'exposition des tableaux au Salon du Louvre en 1787 . [1787] [see Ref. Rosenberg and Sandt 1983, p. 126].Critique des quinze critiques du salon, ou notices faites pour donner une idée de ces brochures . 1787, pp. 7, 10–12 [Collection Deloynes, vol. 15, no. 390, pp. 683, 686–88].Le bouquet du sallon . [1787], p. 5 [Collection Deloynes, vol. 15, no. 388, p. 613].Letter to David . June 13, 1787 [published in Ref. David 1880, pp. 41–42].Letter to David . August 10, 1787 [published in Ref. David 1880, p. 42].Letter to David . December 19, 1787 [published in Ref. David 1880, p. 51].General Evening Post (September 8–11, 1787), p.3 [as extract of a September 3 letter from Paris; published in Ref. Carr 1993].La plume du coq de Micille, ou aventures de critès au sallon . 1787, p. 38 n. 2 [Collection Deloynes, vol. 15, no. 382, p. 462 n. 2].Inscriptions pour mettre au bas de différens tableaux exposés au sallon du Louvre en 1787 . 1787, p. 11 [Collection Deloynes, vol. 15, no. 387, p. 603].Letter to John Trumbull . August 30, 1787 [see Ref. Brejon de Lavergnée 1976, p. 154; erroneously as from 1784].Journal de Paris (1787) [Collection Deloynes, vol. 15, no. 394, pp. 765–66; according to Ref. Verbraeken 1973, p. 54 n. 16, transcribed from Journal de France (sic?), September 22, 1787].Journal encyclopédique ([1787]) [Collection Deloynes, vol. 50, no. 1360, pp. 393–94].Journal général de France ([1787]) [Collection Deloynes, vol. 15, no. 402, pp. 957–59].La bourgeoise au sallon . 1787, pp. 16–17 [Collection Deloynes, vol. 15, no. 384, pp. 524–25].Encore un coup de patte, pour le dernier, ou dialogue sur le salon de 1787, première partie . 1787, pp. 23–26 [Collection Deloynes, vol. 15, no. 378, pp. 319–22].L'ombre de Rubens au sallon, ou l'école des peintres, dialogue critique . 1787, pp. 37, 41 [Collection Deloynes, vol. 15, no. 371, pp. 97, 101; see Notes].Lettre d'un amateur de Paris à un amateur de province sur le sallon de peinture de l'année 1787 . Paris, 1787, pp. 11–13 [Collection Deloynes, vol. 15, no. 381, pp. 411–13].Merlin au salon en 1787 . 1787, pp. 15–20 [Collection Deloynes, vol. 15, no. 385, pp. 547–52].Morning Chronicle and London Advertiser (September 26, 1787), p. 3 [published in Ref. Carr 1993].Observations contenues dans les petites affiches de Paris . 1787 [Collection Deloynes, vol. 15, no. 395, p. 807].Observations critiques sur les tableaux du sallon de l'année 1787 . Paris, 1787, pp. 15–17 [Collection Deloynes, vol. 15, no. 373, pp. 157–59].Lettre d'un étranger sur le salon de 1787 . [1787] ["Lettre" reprinted in Ref. Zoltowska 1974, pp. 28–39; our picture mentioned pp. 34, 36–38; and see Ref. David 1880, pp. 46–48, where commentary on this picture is quoted].Les grandes prophéties du Grand Nostradamus sur le grand salon de peinture de l'an de grâce 1787 . 1787, pp. 17–19 [Collection Deloynes, vol. 15, no. 374, pp. 193–95].L'ami des artistes au sallon . Paris, 1787, pp. 36–38 [Collection Deloynes, vol. 15, no. 379, pp. 374–76].Tarare au sallon de peinture . 1787, pp. 19–20 [Collection Deloynes, vol. 15, no. 376, pp. 275–76].The World (October 11, 1787), p.2 [published in Ref. Carr 1993, p. 315].The World (October 18, 1787), p.2 [published in Ref. Carr 1993, p. 315].Letter to Sir Joshua Reynolds . January 26, 1788.London Times (April 18, 1788), p. 2 [published in Ref. Carr 1993].Mémoires secrets . 36, London, 1789, pp. 318–20, 346–47.Vérités agréables ou le salon vu en beau . Paris, 1789, pp. 15–16 [Collection Deloynes, vol. 16, no. 415, pp. 173–74].Chronique de Paris ([1791]) [Collection Deloynes, vol. 17, no. 452, p. 601].Explication des peintures, sculptures et gravures de messieurs de l'Académie Royale . . . Paris, 1791, p. 17, no. 88 [Collection Deloynes, vol. 17, no. 432].Lettres analitiques, critiques et philosophiques sur les tableaux du sallon . Paris, 1791, pp. 59–60 [Collection Deloynes, vol. 17, no. ?, pp. 419–20].Explication et critique impartiale de toutes les peintures, sculptures, gravures, dessins, &c., exposés au Louvre d'après le décret de l'assemblée nationale, au mois de septembre 1791 . . . Paris, 1791, p. 37, no. 299 [Dezallier d'Argenville, A. N., is inscribed in pencil on the title page of the FARL catalogue; Montaiglon, see Notes, identifies the author as "M. Chery, peintre"; Collection Deloynes, vol. 17, no. 436, p. 171].Le plaisir prolongé, le retour du Salon chez soi et celui de l'abeille dans sa ruche . Paris, 1791, p. 39, no. 299 [Collection Deloynes, vol 17, no. 437, p. 243].Journal de Paris (March 20, 1792) [reprinted in G. Walter, ed., "Oeuvres complètes," 1940, p. 284; also see Ref. Oberreuter-Kronabel, 1986, p. 143 n. 206].Mémoire pour les citoyennes Trudaine veuve Micault, Micault veuve Trudaine et le citoyen vivant Micault-Courbeton fils . Paris, 1794, p. 79.Sur la situation des beaux-arts en France, ou lettres d'un Danois à son ami . Paris, 1801, p. 89.Journal entry . September 20, 1802 [published in Garlick, K., and Macintyre, A., eds. "The Diary of Joseph Farington," vol. 5, New Haven, 1979, p. 1861].Annales du musée et de l'école moderne des beaux-arts 3 (1803), pp. 147–48, ill. (C. Normand's engraving).The Historic Gallery of Portraits and Paintings, or, Biographical Review . London, 1807, vol. 1, pp. 255–56, ill. opp. p. 255 (W. Cooke's engraving) [?a paraphrase or translation of Ref. Landon 1803].Le Pausanias français, ou description du salon de 1806 . 2nd ed. [1st ed. 1806]. Paris, 1808, pp. 155–56.The Life of George Romney, Esq. London, 1809, p. 149.Examen moral des principaux tableaux de la galerie du Luxembourg en 1818, et considerations sur l'état actuel de la peinture en France . [probably 1818] [Bulgari was a pupil of David; cited in Ref. Saunier 1913, p. 380 n. 1, and Ref. Hautecoeur 1954, pp. 93–94].Notice sur la vie et les ouvrages de M. J.-L. David . Paris, 1824, pp. 32–34.Annuaire nécrologique, ou complément annuel . . . année 1825 . Paris, 1826, p. 135.Vie de David . Paris, 1826, pp. 31, 129–30, 162.Sur le but moral des arts . [1827?], pp. 2, 6, 10 [see Ref. Rosenthal 1900].Essai sur J. L. David, peintre d'histoire . . . Paris, 1827, pp. 19, 53 [see Refs. Blanc 1845 and Sterling 1955].Histoire des peintres français au dix-neuvième siècle . Paris, 1845, vol. 1, pp. 171–73, 203, 209.Le corsaire-satan (January 21, 1846) [reprinted in Y.-G. Le Dantec and C. Pichois, eds., "Baudelaire: Oeuvres complètes," Paris, 1961, pp. 868–69].Journal des artistes (January 11, 1846), pp. 9–10 [entire article] [reprinted in "Le baron Taylor, l'association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846," Fondation Taylor, 1995, p. 169].Journal des débats (January 28, 1846) [reprinted in "Le baron Taylor, l'association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846," Fondation Taylor, 1995, pp. 237–38, 240].Le correspondant (1846) [reprinted in "Le baron Taylor, l'association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846," Fondation Taylor, 1995, pp. 277–78].Le constitutionnel (February 9, 1846) [reprinted in "Le baron Taylor, l'association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846," Fondation Taylor, 1995, pp. 206–8].Le constitutionnel (March 10, 1846) [reprinted in "Le baron Taylor, l'association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846," Fondation Taylor, 1995, pp. 222, 224].Mémoires de David, peintre et député à la Convention . Paris, 1850, pp. 36, 100, 189, 232.Lectures on the True, the Beautiful and the Good . New York, 1854, pp. 147–48.Revue des deux mondes , 2nd ser., 10 (May 15, 1855), pp. 752–53 [all or parts of this article appear to have been reprinted in Ref. Delaborde 1964].Louis David, son école & son temps . Paris, 1855, pp. 119, 348–49, 399 [reprinted in "Louis David, son école & et (sic) son temps," Paris, 1983].Gazette des beaux-arts 7 (1860), pp. 291–92.Le mouvement moderne en peinture: Louis David . Paris, 1861, p. 10 [see Ref. Sterling 1955].Histoire des peintres de toutes les écoles: École française . 2, Paris, 1862, pp. 6–7, ill. p 13 ( the engraving by A. H. Cabasson and J. Quartley).La peinture française au XIXe siècle: Les chefs d'école . Paris, 1862, pp. 11–13, 29.Revue universelle des arts 18 (1863–64), pp. 119–20.Revue universelle des arts 18 (1863–64), pp. 361–62.Études sur les beaux-arts en France et en Italie . Paris, 1864, vol. 2, pp. 181, 183 [?reprint of Ref. Delaborde 1855].Guide théorique et pratique de l'amateur de tableaux . 1, Paris, 1864, p. 385.Notice sur le Marat de Louis David suivie de la liste de ses tableaux dressée par lui-même . Paris, 1867, p. 35.Gazette des beaux-arts , 2nd ser., 10 (September 1874), pp. 200–202, ill. (engraving by Cabasson and Quartley).Les amateurs d'autrefois . Paris, 1877, p. 419.Le peintre Louis David, 1748–1825 . 1, Paris, 1880, pp. 41–42, 45–51, 637.Histoire anecdotique des salons de peinture depuis 1673 . Paris, 1881, p. 102.Le peintre Louis David, 1748–1825 . 2, Paris, 1882, ill. (etching).La peinture française au XVIIe siècle et au XVIIIe . 2nd ed. Paris, [1900], p. 326.La peinture romantique . Paris, 1900, pp. 12, 102.Louis David . Paris, [1904], pp. 33–36, 44, 165, ill. opp. p. 30.Louis David . Paris, 1904, p. 35.Rome et la renaissance de l'antiquité à la fin du XVIIIe siècle . Paris, 1912, p. 162.Die Beinstellungen in der Kunstgeschichte . 1912, p. 67 [see Ref. Sterling 1955].Revue de l'art ancien et moderne 33 (May 1913), pp. 340–41.Gazette des beaux-arts , 4th ser., 9 (May 1913), pp. 373, 380 [misnumbered 273, 280].Nicolas Poussin: Sein Werk und sein Leben . Munich, 1914, vol. 1, p. 302.L'art vivant 1 (December 15, 1925), p. 29.L'art vivant 1 (December 15, 1925), pp. 4–5.L'art vivant 1 (December 15, 1925), p. 22.Artists and Their Friends in England, 1700–1799 . London, 1928, vol. 1, p. 101 [see Refs. Lilley 1990 and Bordes 1991and 1992].Jacques Louis David and the French Revolution . New York, 1929, p. 14.Jacques-Louis David, 1748–1825 . Paris, 1930, pp. 24, 104, no. 52, pl. 18.Art Digest 5 (July 1, 1931), p. 11, ill.Metropolitan Museum of Art Bulletin 26 (June 1931), pp. 140–44, ill.Gazette des beaux-arts , 6th ser., 19 (1938), pp. 311–15, ill.Revue archaeologique 12 (July–December 1938), p. 112.David, son evolution et son style . Paris, 1940, pp. 50–51, 55, 117 nn. 41–43, p. 118 nn. 44–47, p. 126, fig. 9.Journal of the Warburg and Courtauld Institutes 4 (1940–41), p. 133 n. 6.David . Monaco, 1943, pp. 8, 117, no. 41, ill.Journal of the Warburg and Courtauld Institutes 6 (1943), pp. 223–24.Bulletin de la Société de l'Histoire de l'Art Français (1945–46), p. 179.Burlington Magazine 90 (October 1948), p. 279.Musées de France (November 1948), pp. 258–60.David . Exh. cat., Orangerie des Tuileries. [Paris], 1948, pp. 49–50, no. M.O. 21.The Painter Jacques-Louis David . London, 1948, pp. 51, 72.David to Delacroix . New York, 1952, p. 17, fig. 4.Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art . Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 232, no. 139, colorpl. 139.David: Naissance du génie d'un peintre . [Monte Carlo?], 1953, pp. 42–43, 59–60.Louis David . Paris, 1954, pp. 90–96, 189, 219, 285, 291, 297, 301.Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), pp. 6, 45, ill.Gazette des beaux-arts , 6th ser., 45 (1955), p. 219.Gazette des beaux-arts , 6th ser., 45 (February 1955), pp. 103–4.The Metropolitan Museum of Art: A Catalogue of French Paintings . 1, Cambridge, Mass., 1955, pp. 191–96, ill.Essais sur Diderot et l'antiquité . Oxford, 1957, pp. 19–20, fig. 9.Apollo 68 (September 1958), pp. 71–72.Death of the Hero: French Painting from David to Delacroix . London, 1960, pp. 55–57, 61, fig. 2.Revue belge de philologie et d'histoire 40 (1962), pp. 90–111, ill. opp. p. 100.L'Oeil no. 124 (April 1965), p. 59, fig. 16.Stil und Überlieferung in der Kunst des Abendlandes . Berlin, 1967, vol. 1, p. 189, pl. I/45.Transformations in Late Eighteenth Century Art . Princeton, 1967, pp. 73–76, 103, 125–26, fig. 74.Neo-classicism . Baltimore, 1968, p. 72.A History of Art and Music . Englewood Cliffs, N.J., [1968], pp. 158–59, fig. 202.Merchants and Masterpieces: The Story of The Metropolitan Museum of Art . New York, 1970, p. 224 [rev., enl. ed., 1989].The Attainment of Delacroix . Baltimore, [1970], p. 202, ill.Art and Artists 7 (November 1972), pp. 28–29, ill.David, Voltaire, 'Brutus' and the French Revolution: An Essay in Art and Politics . New York, 1972, pp. 39, 48, 68.Country Life 152 (September 7, 1972), p. 569, ill.in The Age of Neo-Classicism . Exh. cat., Royal Academy of Arts. [London], 1972, pp. xxvi, 41–42, 44, no. 63, pl. 2.Antiques 102 (September 1972), p. 338, ill.The Life and Art of Henry Fuseli . New York, 1972, p. 90.Dessins français du Metropolitan Museum of Art, New York: De David à Picasso . Exh. cat., Musée du Louvre. [Paris], 1973, p. 31.Jacques-Louis David jugé par ses contemporains et par la postérité . Paris, 1973, pp. 24–25, 28–30, 33, 46, 54–55, 80–82, 85 n. 58, pp. 87, 88 n. 11, pp. 94, 106, 108, 149 n. 54, pp. 150, 245.Documents complémentaires au catalogue de l'oeuvre de Louis David . [Paris], [1973], document nos. 162, 180, 188–89, 191–92, 195, 303, 327, 352, 1165, 1167, 1543, 1810, 1929, 1931, 1938, 2039, 2049 (20), 2062 (97), 2080; and for the print nos. 2041 (46), 2062 (127), 2073; five sketches for the drapery, no. 2062 (97).Jacques-Louis David: A Personal Interpretation . London, 1974, pp. 8, 11–14, pl. 1b.The Artist and the Writer in France: Essays in Honour of Jean Seznec . Oxford, 1974, p. 67 n. 59.Revue du Louvre et des musées de France 24 (1974), pp. 433, 435, ill.Bulletin de la Société de l'Histoire de l'Art Français (1974), pp. 235–37.Dix-huitième siècle no. 6 (1974), pp. 335, 337, 339–40 [reprinted in "Stanislas Kostka Potocki, David, et le Salon de 1787 . . . ," Antemurale 24 (1980), pp. 13, 16, 20, 45 n. 60, p. 49 nn. 89–92, p. 50 nn. 93–98, ill. p. 54].Sacrifice of the Hero: The Roman Years. A Classical Frieze by Jacques Louis David . Sacramento, 1975, p. 110 n. 88.The Age of Louis XV: French Painting, 1710–1774 . Exh. cat., Toledo Museum of Art. [Toledo], 1975, p. 33.in French Painting, 1774–1830: The Age of Revolution . Exh. cat., Detroit Institute of Arts. Detroit, 1975, pp. 41–42, 367–68, 562, no. 32, ill. p. 82 [French ed., De David à Delacroix: La peinture française de 1774 à 1830, 1974, pp. 42–43, 367–68, 555, no. 32, pl. 36].in The Eye of Th. Jefferson . Exh. cat., National Gallery of Art. Washington, 1976, pp. xxviii, 154, 190, 377, no. 331, ill. (color).La Relève de l'imaginaire. La Peinture française au XIXe siècle: Réalisme, romantisme . Paris, 1976, pp. 71, 73, 120.in René Huyghe. La Relève de l'imaginaire. La Peinture française au XIXe siècle: Réalisme, romantisme . Paris, 1976, p. 447.Aspects of "Official" Painting and Philosophic Art, 1789–1799 . New York, 1976, pp. 18, 22–23, 35, 53–54, 121, 144, pl. 2.Art Bulletin 59 (June 1977), pp. 289, 291.Thoré-Bürger and the Art of the Past . New York, 1977, p. 125.Art History 1 (December 1978), pp. 429–30.Girodet-Trioson: An Iconographical Study . New York, 1978, pp. 8, 35–36, 70.Gazette des beaux-arts , 6th ser., 91 (May–June 1978), pp. 202–6, fig. 1.American Artist 43 (September 1979), pp. 64–65, ill. (black and white and color).Jacques-Louis David . New York, 1980, pp. 29, 44, 46, 79–80, 82–86, 90, 99, 103, 112, 135, 167–68, fig. 43.Absorption and Theatricality: Painting and Beholder in the Age of Diderot . Berkeley, 1980, pp. 136, 157, 160, 193 n. 81, p. 232 n. 60, p. 239 n. 102, p. 240 n. 108.The Metropolitan Museum of Art . New York, 1980, pp. 385, 387–88, fig. 693 (color).Bulletin de la Société de l'Histoire de l'Art Français (1981), pp. 179, 181–84, fig. 8, nn. 19–21.Word and Image: French Painting of the Ancien Régime . Cambridge, 1981, pp. 205, 226, 233–35, 240, fig. 78.Painting in Eighteenth-Century France . Oxford, 1981, pp. 107–8, ill.Art in America 69 (September 1981), p. 168.Kunstmuseets Årsskrift 1977–1980 (1981), pp. 21–27, 30 nn. 31, 44 [apparent translation into Danish of article by Meir Stein in the Bulletin de la Société de l'Histoire de l'Art Français; also published as a chapter in "Idé og form i fransk kunst: Fra Barok til impressionisme, Copenhagen, 1981].David . English ed. [French ed. 1980]. New York, 1982, pp. 59, 72, 77, 80–84, 86, 100–101, 130, 174, fig. 39.Le Serment du Jeu de Paume de Jacques-Louis David: Le peintre, son milieu et son temps de 1789 à 1792 . Paris, 1983, pp. 21–22, 95 n. 39, pp. 131–32.Pierre Peyron, 1744–1814 . Neuilly-sur-Seine, 1983, pp. 124–26, fig. 113.Images of Man and Death . Cambridge, Mass., 1985, p. 102, fig. 157.Painters and Public Life in Eighteenth-Century Paris . New Haven, 1985, pp. 215–16, 243–47, ill.Jacques-Louis David . New York, 1985, pp. 24, 58, 60, 63, 68, 94, 106, 132, colorpl. 12.in 1770–1830: Autour du Néo-Classicisme en Belgique . Exh. cat., Musée Communal des Beaux-Arts d'Ixelles. [Brussels], 1985, p. 30.Der Tod des Philosophen: Zum Sinngehalt eines Sterbebildtypus der französischen Malerei in der zweiten Hälfte des 18. Jahrhunderts . Munich, 1986, pp. 24, 27–28, 33, 60–84, 91–94, 142–43 nn. 195, 206, p. 144 nn. 109, 211, p. 146 nn. 230, 232–33, p. 147 n. 236, p. 148 nn. 266–67, p. 149 nn. 268–69, 285, ill. on cover (detail).Letter to Gary Tinterow . July 28, 1986.A Social History of Modern Art . 1, Chicago, 1987, pp. 405, 407–11, 417, 430, ill.Art Bulletin 69 (March 1987), pp. 102–3, ill.L'art et la Révolution française, 1789–1804 . Neuchâtel, Switzerland, 1987, pp. 220–21, ill. (color).Burlington Magazine 129 (June 1987), p. 399.David . Paris, [1988], pp. 49, 52–53, ill. pp. 50–51 (color).Aux armes & aux arts!: Les arts de la Révolution, 1789–1799 . Paris, 1988, pp. 13, 15, 26, 36.Art Bulletin 70 (September 1988), p. 520.in Goya and the Spirit of Enlightenment . Exh. cat., Museo Nacional del Prado. Boston, 1988, p. lxxvii, fig. 1.David: L'art et le politique . Paris, 1988, pp. 44–47, 170, ill. in color (overall and details).in 1789: French Art During the Revolution . Exh. cat., Colnaghi. New York, 1989, p. 58.in La Révolution française et l'Europe, 1789–1799 . Exh. cat., Galeries Nationales du Grand Palais. Paris, 1989, p. 293.Les salons de peinture de la Révolution française, 1789–1799 . Paris, 1989, p. 174, ill. p. 175.Art Bulletin 71 (March 1989), p. 111.La vie et l'oeuvre de Jacques-Louis David . Paris, 1989, pp. 82, 84, ill. p. 85 (color).David: La terreur et la vertu . [Paris], 1989, pp. 32, 35, 139.David . Paris, 1989, pp. 20, 24, 26, ill.Jacques-Louis David, Revolutionary Artist: Art, Politics, and the French Revolution . Chapel Hill, 1989, pp. 19, 32, 34, 111, 123, 204, fig. 6.in Jacques-Louis David, 1748–1825 . Exh. cat., Musée du Louvre. Paris, 1989, pp. 18–19, 21, 122–23, 160, 178–80, 186, 197–98, 329–30, 571–73, 577, 601, 635, fig. 44.in 1789: French Art During the Revolution . Exh. cat., Colnaghi. New York, 1989, pp. 112, 114, 116–19, fig. 1.The Burlington Magazine 132 (February 1990), p. 154.Art in America 78 (May 1990), pp. 203, 259.British Society for Eighteenth-Century Studies Bulletin no. 21 (Summer 1990), pp. 10–13.Lecture . October 28, 1991.The Loves of the Gods: Mythological Painting from Watteau to David . Exh. cat., Kimbell Art Museum. New York, 1992, pp. 509–10.Burlington Magazine 134 (August 1992), pp. 482, 484, 487, 490, ill.Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York . New York, 1992, p. 33.Fragonard et le dessin français au XVIIIe siècle dans les collections du Petit Palais . Exh. cat., Petit Palais, Musée des Beaux Arts de la Ville de Paris. Paris, 1992, p. 100.Apollo 137 (May 1993), pp. 304, 306.David contre David . Paris, 1993, vol. 1, pp. 145, 151, fig. 65.David contre David . Paris, 1993, vol. 1, p. 343, fig. 65.David contre David . Paris, 1993, vol. 1, fig. 65; vol. 2, p. 722.Apollo 137 (May 1993), pp. 307–8, 310–13, 315, ill. (color).David contre David . Paris, 1993, vol. 2, p. 854.David contre David . Paris, 1993, vol. 1, pp. 207–8, 211, 216, 223, fig. 65.David contre David . Paris, 1993, vol. 1, fig. 65; vol 2, pp. 938–39.David contre David . Paris, 1993, vol. 1, pp. 434, 436.David contre David . Paris, 1993, vol. 1, p. 50.Jacques-Louis David: Art in Metamorphosis . Princeton, 1993, pp. 66–68, 86, 97, fig. 37.David contre David . Paris, 1993, vol. 1, fig. 65; vol. 2, pp. 1095, 1100–06, 1110.David contre David . Paris, 1993, vol. 1, fig. 65; vol. 2, p. 904.David contre David . Paris, 1993, vol. 1, fig. 65; vol. 2, pp. 809, 812–13.Fifty Paintings, 1535–1825, to Celebrate Ten Years of Collaboration between The Matthiesen Gallery, London, and Stair Sainty Matthiesen, New York . London, 1993, pp. 186, 194.David contre David . Paris, 1993, vol. 2, p. 1132 n. 14.David contre David . Paris, 1993, vol. 1, p. 568.David contre David . Paris, 1993, vol. 1, fig. 65; vol. 2, pp. 649, 652.David contre David . Paris, 1993, vol. 1, fig. 65; vol. 2, p. 885.David contre David . Paris, 1993, vol. 1, p. 309.David contre David . Paris, 1993, vol. 1, fig. 65; vol. 2, p. 1085.David contre David . Paris, 1993, vol. 1, pp. 130, 137 n. 35.David contre David . Paris, 1993, vol. 2, pp. 915, 917.Femininity and Masculinity in Eighteenth-Century Art and Culture . Manchester, 1994, pp. 205, 211–13, 217, n. 18, fig. 35.Emulation: Making Artists in Revolutionary France . New Haven, 1995, pp. 95–102, 108, 140, 183, 316 nn. 50, 54, colorpl. 72.in "La critique artistique devant l'exposition du Bazar Bonne-Nouvelle." Le baron Taylor, l'Association des artistes et l'exposition du Bazar Bonne-Nouvelle en 1846 . Paris, 1995, pp. 26, 29, ill. p. 43.in Michael Kimmelman. "At the Met with Roy Lichtenstein: Disciple of Color and Line, Master of Irony." New York Times (March 31, 1995), p. C27.Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 40 (1995), pp. 249–71, fig. 1.Art in America 84 (February 1996), pp. 25, 27, 29.Zeitschrift für Kunstgeschichte 2 (1996), p. 275 n. 41.in Michael Kimmelman. "At the Met with Leon Golub and Nancy Spero." New York Times (January 5, 1996), p. C5.The Farewell of Telemachus and Eucharis . Los Angeles, 1997, pp. 10, 12, ill.Le sens du beau . Paris, 1998, ill. p. 88 (color).David et le néoclassicisme . Paris, 1998, pp. 73, 78; ill. in color pp. 76–77.Our Homosocial Constitution: Some Sexual and Political Themes in Paintings Admired by the Founding Fathers . June 1999 [see http://www.andromeda.rutgers.edu/~hyde/homo.htm] pp. 3, 7, 12–13, 23 n. 49, 27 n. 90.David . London, 1999, pp. 70, 99–105, 108, 116, 144, 217, pl. 66–67 (color).Figure and Fantasy in French Painting, 1650–1800 . Exh. cat., Berry-Hill Galleries. New York, 1999, p. 64.Jacques-Louis David and Jean-Louis Prieur: Revolutionary Artists . Albany, 2000, pp. 240–41.in "Terror and the 'Tabula Rasa': David's 'Marat' in its Pictorial Context." Jacques-Louis David's "Marat" . Cambridge, 2000, p. 84.Art Bulletin 82 (December 2000), p. 717 n. 12.in "La collezione Giustiniani tra Settecento e Ottocento: Fortuna e dispersione." Caravaggio e i Giustiniani: Toccar con mano una collezione del Seicento . Exh. cat., Palazzo Giustiniani. Milan, 2001, p. 117.in Final Moments: Peyron, David, and "The Death of Socrates" . Exh. cat.Omaha, 2001, pp. 20–25, 29, 31, 33, 35, 42, fig. 3.in Final Moments: Peyron, David, and "The Death of Socrates" . Exh. cat.Omaha, 2001, pp. 5, 10–12, fig. 3.in "David e la collezione Giustiniani." Caravaggio e i Giustiniani: Toccar con mano una collezione del Seicento . Exh. cat., Palazzo Giustiniani. Milan, 2001, p. 104.Mélanges en hommage à Pierre Rosenberg: Peintures et dessins en France et en Italie, XVIIe–XVIIIe siècles . Paris, 2001, p. 401.L'invention de la critique d'art . Rennes, 2002, pp. 138–39.History and Theory 41 (December 2002), p. 24.Jacques-Louis David, 1748–1825: Catalogue raisonné des dessins . Milan, 2002, vol. 1, pp. 50, 67, 70–72, 79, 88, 97, 100–01, 109–10, 182, 226, 344, 429, 454, 560, 657, fig. 52b; vol. 2, pp. 756, 1173, 1191, 1214, 1221.Orages: Litterature et Culture [L'imaginaire du héros] 2 (2003), pp. 28, 34–36, 39–42, ill.La science et l'amour: Madame Lavoisier . Paris, 2004, p. 105.The French Portrait: Revolution to Restoration . Exh. cat., Smith College Museum of Art. Northampton, Mass., 2005, p. 53.in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne . Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 16–17 [Catalan ed., Barcelona, 2006, p. 17].Only in America: One Hundred Paintings in American Museums Unmatched in European Collections . Milan, 2006, pp. 17, 156, ill. (color).David after David: Essays on the Later Work . Williamstown, Mass., 2007, p. 21.in Laure Pellicer and Michel Hilaire. François-Xavier Fabre (1766–1837): De Florence à Montpellier . Exh. cat., Musée Fabre, Montpellier. Paris, 2008, p. 248–50, fig. 1 (color).Metropolitan Museum Journal 43 (2008), pp. 159, 164.Sparsae , hors série, no 4. (2009), p. 73.
Add to My Met Gallery
Print
Previous View
Enlarge
Zoom
