A Lady in Her Bath

c. 1571

François Clouet

Artist, French, before 1520 - 1572

Red satin drapes are drawn back to either side of this vertical painting to reveal a nude woman with pale, white skin sitting upright in a narrow bathtub. The woman occupies the right half of the painting. To our left, another woman nursing a swaddled baby and a child, all also with pale skin, gather near the tub. The bathing woman’s body is angled slightly to our left but she looks into the distance to our right. She has a straight nose, small pink lips, dark eyes, and smooth skin. Her brown hair is pulled up under a jeweled cap, and she wears pearl earrings, a gold bracelet on each wrist, and a gold ring with a pink stone on her left pinky finger. She holds a carnation with her right hand, on our left. The inside of the tub is draped with white fabric, which folds over the sides. A bowl of fruit and flowers are scattered on what must be a board spanning the tub, which is also covered with a white cloth. From the far side of the tub, the child reaches for the fruit. The woman nursing the baby has one breast exposed but is otherwise fully dressed in a garment with red sleeves and a white cap. The woman has a prominent nose, and she smiles as she looks at us from the corners of her eyes. The room behind these women has fireplace with an ornate mantel and windows open to a landscape to our left. A picture showing a unicorn resting in front of a tree and a dark mirror hangs on the wall between the fireplace and windows. At a table placed in front of the fireplace, a third light-skinned woman leans over and lifts a jug.

Media Options

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François Clouet, the son of a Netherlandish artist, became court painter to the French kings Francis I, Henry II and Charles IX. In this Renaissance portrait Clouet has depicted a female nude, whose identity is unknown, at her bath. The bather is seated in her tub, which is lined with a white cloth and hung on both sides with regal crimson curtains to ward off the cold. Her left hand draws back the bath sheet revealing the artist's name inscribed below, while her right hand rests on a covered board that displays a sumptuously rendered still life. Slightly behind the bather a young boy reaches for some grapes as a smiling wet nurse suckles a baby. In the background, a maid is seen holding a metal pitcher of bath water as more water is heated in the fireplace. The allusion is to a happy, healthy home.

The masklike symmetry of the bather's face makes exact identification difficult; scholars have suggested that her aristocratic features indicate that she is one of several royal mistresses. It is possible that the nude, a Venus type, represents ideal beauty rather than a specific individual. The contrast of the smoothly rendered nude figure to the intricate surface details of the fruit, draperies, and jewelry, presents a union of Flemish and Italian motifs that characterized French courtly art of the sixteenth century.

On View

West Building Main Floor, Gallery 41

Artwork overview

  • Medium

    oil on oak

  • Credit Line

    Samuel H. Kress Collection

  • Dimensions

    overall: 92.3 × 81.2 cm (36 5/16 × 31 15/16 in.)
    framed: 116.84 × 106.68 × 7.62 cm (46 × 42 × 3 in.)

  • Accession

    1961.9.13

More About this Artwork

Scholarly Article:  French Paintings of the Fifteenth through Eighteenth Centuries: A Lady in Her Bath, c. 1571

A young woman draws on an oval surface with white chalk while three winged, baby-like putti gather nearby, all on a bank of pale pink clouds in this horizontal painting. The woman and putti have pale, rosy skin, flushed cheeks, and hazel-brown eyes. To our left, the woman reclines with her upper body propped up on her far elbow, which rests on a steel-blue cushion as her legs stretch out to our right. Her light brown hair is braided and wrapped across the top of her head. She wears a loose, seafoam-green robe over a billowing ivory-white garment that has slipped off the shoulder closer to us. A round paint palette with brushes sticking out of its thumb hole and a roll of blue and white paper sit in the lower left corner, behind the woman. The woman and the objects are on a red cloth. In front of the woman is a rounded surface, perhaps a canvas, on which she draws. She holds up a gold-colored stylus with her right hand, closer to us, with a pointed piece of white chalk in one end and black chalk in the other. The canvas is taller than her head, so the child-like putto she draws on it is life-sized. The three nude putti on the far side of the canvas have copper or golden-blond, curly hair, flushed, rounded cheeks, short wings in white or peacock blue, pudgy torsos, and dimpled limbs. One putto, presumably the one the woman draws, sits back on the bank of clouds with a carnation-pink sash across his chest. He pulls his chin back and looks at her from under his eyebrows. He holds a gold-colored torch with a pink flame in one hand, and the other hand rests near a cylindrical quiver of arrows. Another putto peeks around the side of the canvas, and the third stands and props the canvas up. That third putto holds up a wreath of laurel leaves up over the canvas, above the woman’s drawing hand. The bank of clouds is parchment-brown with muted pink and blue highlights against a vivid blue sky. The artist signed and dated the lower right, “F Boucher – 1765.”

Scholarly Series:  French Paintings of the Fifteenth through Eighteenth Centuries

Artwork history & notes

Provenance

Sir Richard Frederick, 6th bt. [1780-1873], Burwood Park, Walton-on-Thames, Surry; (his estate sale, Christie, Manson & Woods, London, 7 February 1874, no. 83, as Portrait of Diane de Poictiers[sic] by Fr. Janetii); purchased by Thibeaudeau,[1] presumably acting as agent for Sir John Charles Robinson [1824-1913], London; purchased 1874 by Sir Francis Cook, 1st bt. [1817-1901], Doughty House, Richmond, Surrey;[2] by inheritance to his son, Sir Frederick Lucas Cook, 2nd bt. [1844-1920], Doughty House; by inheritance to his son, Herbert Frederick Cook, 3rd bt. [1868-1939], Doughty House; by inheritance to his son, Sir Francis Ferdinand Maurice Cook, 4th bt. [1907-1978], Doughty House, and Cothay Manor, Somerset; sold July 1954 to (Margaret Drey, London);[3] (Rosenberg and Stiebel, New York);[4] purchased May 1955 by the Samuel H. Kress Foundation, New York;[5] gift 1961 to NGA.
[1] Annotation accompanying the copy of the catalogue in the archives of Christie, Manson & Woods, London.
[2] Maurice Brockwell, Catalogue of the Pictures at Doughty House, Richmond, and Elsewhere in the Collection of Sir Frederick Cook, Bt., 3 vols., London, 1913-1915: 3:no. 426, states that the painting was purchased from J. Charles Robinson in 1874 for 350 pounds. An annotation, probably by Brockwell, in a copy of the 1915 Cook collection catalogue belonging to Brenda, Lady Cook (St. Brelade, Jersey, England), reads: "Bought from or per JCR 11/2/1874." Lady Cook kindly showed this annotation to Elon Danziger, assistant in the department of northern Renaissance painting, in 2001. Brockwell 1932, vi, observes that Robinson, who had been Surveyor of the Pictures for Queen Victoria, often advised Cook on purchases. In this instance he may have acted as agent.
[3] Correspondence from the Cook Collection Archive, in care of John Somerville, England, copies in NGA curatorial file.
[4] Saemy Rosenberg, letter to William Suida, 11 May 1955, in NGA curatorial files.
[5] The record of the agreement to purchase the painting is in the Kress Foundation files, dated 9 May 1955 (see copy in NGA curatorial files and The Kress Collection Digital Archive, https://kress.nga.gov/Detail/objects/53).

Associated Names

Exhibition History

1894

  • Fair Women [Summer Exhibition], Grafton Galleries, London, 1894, no. 20, as Portrait of Diane de Poitiers, Duchesse de Valentinois.

1904

  • Exposition des primitifs français, Palais du Louvre and Bibliothèque Nationale, Paris, 1904, no. 226, as Portrait d'une dame au bain by François Quesnel?

1911

  • Exhibition of Old Masters in Aid of the National Art Collections Fund, Grafton Galleries, London, 1911, no. 85, repro. as Portrait of Diane de Poitiers.

1932

  • Exhibition of French Art 1200-1900, Royal Academy of Arts, London, 1932, no. 53, repro., as Dame au Bain.

1933

  • Commemorative Catalogue of the Exhibition of French Art, 1200 – 1900. (Exh. cat. Royal Academy of Arts.) London, 1933: 15-16, no. 49, pl. 21.

1944

  • Masterpieces from the Cook Collection, Toledo Museum of Art, Ohio, 1944-1945, no. 426, repro., as Portrait of Diane de Poitiers.

1947

  • Loan for display with permanent collection, The Fitzwilliam Museum, Univerity of Cambridge, England, 1947-1954.

1955

  • Le triomphe du maniérisme européen de Michel-Ange au Greco. Entries by Charles Sterling. (Exh. cat. Rijksmuseum.) Amsterdam, 1955: 57, no. 34, 67, no. 52.

1965

  • Le xvi e siècle européen. Peintures et dessins dans les collections publiques françaises. Entries by Sylvie Béguin. (Exh. cat. Petit Palais.) Paris, 1965: 59, 61, no. 74, 277, no. 338.

1972

  • L’ école de Fontainebleau. Entries by Sylvie Béguin. (Exh. cat. Galeries nationales du Grand Palais.) Paris, 1972: 54, no. 54, 214, no. 242, 215, no. 243, 220, no. 246.

1973

  • Fontainebleau. Art in France 1528 – 1610. (Exh. cat. National Gallery of Canada.) Ottawa, 1973: 2:39.

1992

  • Sixteenth-Century Renaissance Painting. Vol. 2: A Reading and Viewing of Famous Paintings. Tokyo, 1992: 123-125, repro.

2019

  • La Joconde nue = The Nude Mona Lisa, Musée Condé, Chantilly, 2019.

Bibliography

1903

  • Cook, Francis. Abridged Catalogue of the Pictures at Doughty House, Richmond. London, 1903: 6, no. 14.

1904

  • Dimier, Louis. Le Portrait du XVIe siècle aux primitifs français. Notes et corrections au catalogue officiel sur cette partie de l'exposition d'avril-juillet 1904. Paris, 1904: 23-25.

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  • Lafenestre, Georges. “L’exposition des primitifs français.” Gazette des Beaux-Arts 3é pér. 32 (1904): 138-139, repro. (As “by François Quesnel?”)

1905

  • Reinach, Salomon. Répertoire de peintures du moyen âge et de la Renaissance (1280-1580). 6 vols. Paris, 1905-1923: 5(1922):36, fig. 2.

1907

  • Dimier, Louis. "Clouet, François." In Thieme-Becker. 37 vols. Leipzig, 1907-1950: 7(1912):117-118.

1915

  • Brockwell, Maurice W. A Catalogue of the Paintings at Doughty House, Richmond, & Elsewhere in the Collection of Sir Frederick Cook, Bt, Visconde de Monserrate. 3 vols. London, 1915: 3:44-45, no. 426, repro.

1920

  • Reinach, Salomon. "Diane de Poitiers et Gabrielle d'Estrées." Gazette des Beaux-Arts 5e pér, 62, no. 21 (1920): 163-170, repro.

1923

  • Ede, H. S. “Authenticated Information Concerning Jehannet and François Clouet.” The Burlington Magazine 42, no. 240 (March 1923): 117 – 118, 124.

1924

  • Moreau-Nélaton, Étienne. Les Clouet et leurs émules. Paris, 1924: 1, 75, fig. 20.

  • Dimier, Louis. Histoire de la peinture de portrait en France au xvi e siècle. 3 vols. Paris and Brussels, 1924 – 1926: 1:95 – 96; 2:127, no. 13.

1926

  • Hendy, Philip. "French Painting in the XVIth Century. The Clouets and the Birth of Decorative Painting." Apollo: A Journal of the Arts 3 (January to June 1926): 50-51, repro.

1929

  • Fourreau, Armand. Les Clouet. Paris, 1929: 57, 60, repro.

  • Adler, Irene. "Die Clouet. Versuch einer Stilkritik." Jahrbuch des kunsthistorischen Sammlungen in Wein. N.F.3 (1929): 214, 227, 230, 232-234, 246, no. 13, repro.

1931

  • Babelon, Jean. "Sixteenth Century Painting in France." Formes 20 (1931): 170-171, repro.

  • Jamot, Paul. "French Painting I." The Burlington Magazine 59 (1931): repro. facing 257.

  • Marle, Raimond van. Iconographie de l'art profane au Moyen-Age et à la Renaissance. 2 vols. The Hague, 1931: 509.

1932

  • Chamot, Mary. "The Exhibition of French Art." Apollo 15, no. 85 (January 1932): 3, 5.

  • Cox, Trenchard. "A First View of the French Exhibition." The Connoisseur 89, no. 365 (January 1932): 5-6, fig. 11.

  • Cox, Trenchard. "A Last View of the French Exhibition." The Connoisseur 89, no. 367 (March 1932): 150.

  • Dézarrois, André. "Chroniques. L'art français à Londres." La Revue de l'art Ancien et Moderne 61 (1932): 83-84, repro.

  • Jamot, Paul. "French Painting II." The Burlington Magazine 60, no. 346 (January 1932): 3.

  • Brockwell, Maurice W. Abridged Catalogue of the Pictures at Doughty House, Richmond, Surrey, in the Collection of Sir Herbert Cook, Bart. London, 1932: 7, no. 426, pl. 1.

  • Huyghe, René. “Du XIVe au XVIe siecle.” L’Amour de l’Art 13 (1932): 3, 8, repro., fig. 16.

1933

  • Commemorative Catalogue of the Exhibition of French Art, 1200-1900. Exh. cat. Royal Academy of Arts, London, January - March 1932. Oxford and London, 1933: 15-16, no. 49., pl. 21.

1935

  • Ver Heyden de Lancey. "A Picture of Gabrielle d'Estrées attributed to Françios Pourbus le Jeune." The Connoisseur 96, no. 409 (September 1935): 138, repro. 139.

1936

  • Wilenski, Reginald H. French Painting. Boston, 1936. 2nd ed. Boston, 1949. 3rd ed. New York, 1976: 30 n. 1.

1937

  • Dimier, Louis. "L'Art du portrait en France au XVIe s[iècle]: François Clouet." Le Dessin 9 (March 1937): 470.

  • Taylor, Francis Henry. "La Belle Diane: Two Portraits of the French Renaissance." Worcester Art Museum Annual 3 (1937-1938): 49.

1939

  • Réau, Louis. French Painting in the XIVth, XVth, and XVIth Centuries. London, Paris, New York, 1939: 33, 83, repro.

1945

  • "The Cook Collection." The Studio 130 (1945): 25, repro.

  • Adhémar, Jean. "French Sixteenth Century Genre Paintings." Journal of the Warburg and Courtauld Institutes 8 (1945): 193.

1947

  • Wescher, Paul. Jean Fouquet and His Time. Trans. Eveline Winkworth. London, 1947: 20.

1948

  • Brion, Marcel. Lumière de la Renaissance. Paris, 1948: 154.

1949

  • Wilenski, Reginald H. French Painting. Boston, 1949: 31-32.

1950

  • "Diane de Poitiers au Bain." Aesculape (October, 1950): 192, repro.

  • Colombier, Pierre du. L'Art Renaissance en France. Paris, 1950: 90, 96, fig. 115.

1951

  • Hevesy, André de. "L'Histoire véridique de la Jaconde." Gazette des Beaux-Arts 6e pér., 40 (1952): 17-19, repro.

  • Polaillon-Kerven, Gisèle. "Beautés de légend et légendes de beauté." Amour de l'Art 49-51 (1951): 29, 31, repro.

  • Sabin, André. La Peinture française du XVIe siècle. Paris, 1951: 2.

1954

  • Blunt, Anthony. Art and Architecture in France: 1500 to 1700. London and Baltimore, 1954: 69-70, pl. 48; rev. ed. 1999, 73, 74, repro.

1955

  • Le Triomphe du maniérisme européen de Michel-Ange au Greco. Exh. cat., Rijksmuseum, Amsterdam, 1955:57, 67, no. 34, no. 52.

  • Murray, Linda. "The French Portrait." History Today 5, no. 9 (September 1955): 585, repro.

  • Sterling, Charles. A Catalogue of French Paintings. 3 vols. Vol. 1, XV-XVIII Centuries, Metropolitan Museum of Art. Cambridge, Mass., 1955: 1:53-54.

1956

  • Paintings and Sculpture from the Kress Collection Acquired by the Samuel H. Kress Foundation 1951-56. Introduction by John Walker, text by William E. Suida and Fern Rusk Shapley. National Gallery of Art. Washington, 1956: 52-55, no. 17, repro.

  • Walker, John. "The Nation's Newest Old Masters." The National Geographic Magazine 110, no. 5 (November 1956): 624, 628, color repro. 642.

  • “Il Quindicesimo anniversario della National Gallery di Washington.” Emporium 124 (1956): 70, 71, repro.

1957

  • Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): 33, 38, 43, 50, 127, frontispiece, pl. 127.

  • "The Story Behind the Painting, 10: The Lady of the Ice-Cold Bath." Look 21, no. 6 (March 19, 1957): 100-101, color repro.

1959

  • Huebner, Fr. M. "Ein wertvoller Fund." Die Weltkunst 29 (1959): 5.

  • Cooke, Hereward Lester. French Paintings of the 16th-18th Centuries in the National Gallery of Art. Washington, D.C., 1959 (Booklet Number Four in Ten Schools of Painting in the National Gallery of Art, Washington, D.C.): 12, 13, color repro.

  • Paintings and Sculpture from the Samuel H. Kress Collection. National Gallery of Art, Washington, 1959: 335, repro.

1960

  • Béguin, Sylvie. L'Ecole de Fontainebleau. Le Maniérisme à la cour de France. Paris, 1960: 94-95, 106, repro.

  • The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 9, color repro. 12.

1961

  • Walker, John, Guy Emerson, and Charles Seymour. Art Treasures for America: An Anthology of Paintings & Sculpture in the Samuel H. Kress Collection. London, 1961: 114-115, 209, fig. 105, color fig. 106-107.

  • Babelon, Jean. La Civilisation française de la Renaissance. Tournai, 1961: 193.

  • Blumer, Marie-Louise. "Clouet (François, dit Janet)." Dictionnaire de Biographie française 17 vols., 1933-1989. Paris, 1961: 9:38.

  • Goldblatt, Maurice H. Deux grands maîtres français: le maître de Moulins identifié; Jean Perréal, 40 portraits identifiés. Paris, 1961: 40.

1962

  • Neugass, Fritz. "Die Auflösung der Sammlung Kress." Die Weltkunst 32 (1962): 3-4, repro.

  • Cairns, Huntington, and John Walker, eds. Treasures from the National Gallery of Art. New York, 1962: 100, 101, color repro.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 200, 201, repro.

  • Châtelet, Albert, and Jacques Thuillier. French Painting from Fouquet to Poussin. Geneva, 1963: 111-112, 126, 128-130, repro.

  • Haycraft, Robert Kenneth. “François Clouet’s Diane de Poitiers in Her Bath at the National Gallery of Art, Washington, D.C.” M.A. thesis, Johns Hopkins University, 1963.

1964

  • Guilly, R. "Clouet, François." In Kindlers Malerei Lexikon edited by Germain Bazin et al. 6 vols., 1964-1971. Zürich, 1964: 1:758-:759, repro.

  • Mirimonde, Albert P. de. Review of La Peinture française de Fouquet à Poussin by Albert Châtelet and Jacques Thuillier. Gazette des Beaux-Arts 6e pér, no. 63 (1964): 370-371.

1965

  • Réunion des musées nationaux. Le XVIe siècle européen: Peintures et dessins dans les collections publiques françaises. Exh. cat. Paris, Petit Palais, October 1965-January 1966. Paris, 1965: 59, 61, 277, under no. 74 and 338.

  • Summary Catalogue of European Paintings and Sculpture. National Gallery of Art, Washington, 1965: 29.

  • Venturi, Lionello. The Sixteenth Century, from Leonardo to El Greco. New York, 1965: 244, 245, repro.

1966

  • Chastel, André. "Diane de Poitiers: 'L'Eros de la beauté froide'." In Friendship's Garland: Essays Presented to Mario Praz on his Seventieth Birthday. Rome, 1966: 1:101, fig. 1. (Reprinted in Fables, Formes, Figures, Paris, 1978: 1: 269-270, repro.)

  • Trinquet, Roger. "L'Allégorie politique au XVIe siècle: la Dame au Bain de François Clouet (Washington)." Bulletin de la Société de l'Histoire de l'Art Français (1966): 99-119, repro.

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:2882-283, color repro.

  • The Women I Love: These Lovely Immigrants Are Part of Our National Treasure.” This Week Magazine (January 9, 1966): 10, color repro.

  • Sayce, R. A. “Ronsard and Mannerism: The Élégie à Janet.” L’Esprit Créateur 6, no. 4 (1966): 234-247.

1967

  • Sterling, Charles. "Un Portrait inconnue par Jean Clouet." In Studies in Renaissance & Baroque Art, Presented to Anthony Blunt on his 60th Birthday. London, 1967: 88-89, fig. 3.

1968

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 22, repro.

  • Cuttler, Charles D. Northern Painting from Pucelle to Breughel. Fourteenth, Fifteenth and Sixteenth Centuries. New York, 1968: 466, repro.

  • Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 62-63, color repro.

1969

  • Gebelin, François. L’époque Henri IV et Louis XIII. Paris, 1969: 179.

1970

  • Châtelet, Albert, François-Georges Pariset and Raoul de Broglio. Chantilly, Musée Condé: Peintures de l'Ecole française. Paris, 1970: under no. 75.

  • Muehsam, Gerd. French Painters and Paintings from the Fourteenth Century to Post-Impressionism. New York, 1970: 40, 43-45, repro.

  • Sterling, Charles. "A Male Portrait by Jean Clouet." Museum Monographs: Papers on Objects in the Collection of City Art Museum of Saint Louis 2 (1970): 60-61, fig. 7.

  • Blunt, Anthony. Art and Architecture in France: 1500 to 1700. 2nd ed. Baltimore, 1970: 65, pl. 48.

1971

  • Lucie-Smith, Edward. A Concise History of French Painting. New York, 1971: 44-45, 47, repro.

1972

  • L'Ecole de Fontainebleau, Exh. cat. Grand Palais, Paris, 1972: 54, no. 54, 214, no 242, 215, no. 243, 220, no. 246.

  • Johnson, W. McAllister. "L'Ecole de Fontainebleau: The Paintings." La Chronique des Arts, Supplément à la Gazette des Beaux-Arts 6e pér, 150 no. 81 (January 1972): 42, fig. 42.

  • Laclotte, Michel. "Pour un Louvre ideal." Jardin des Arts no. 212-213 (July-August 1972): 34, repro.

  • Sterling, Charles. “Pertenenze francesi nel Cinquecento.” Critica d’Arte ser. 2, 19 (37), no. 122 (March-April 1972): 46.

  • Ragghianti, Carlo L. "Pertineuze francesi nel Cinquecento." Critica d'Arte 19, n.s. 122 (1972): 46.

1973

  • Fontainebleau: Art in France 1528-1610. Exh. cat. Ottawa, National Gallery of Canada, 1973. 2 vols. Ottawa, 1973: 2:39.

  • Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 84, 86 repro. [as Diane de Poitiers].

1974

  • Rich, Daniel Catton. "French School." In European Paintings in the Collection of the Worcester Art Museum. Edited by Louisa Dresser. 2 vols. Worcester, 1974: 1:242, under no. 1932.23.

  • Worcester Art Museum. European Paintings in the Collection of the Worcester Art Museum. Worester, Massachusetts, 1974: 242.

1975

  • European Paintings: An Illustrated Summary Catalogue. National Gallery of Art, Washington, 1975: 72, repro.

  • Walker, John. National Gallery of Art, Washington. New York, 1975: 224, 226, no. 286, 225, repro.

  • McMullen, Roy. Mona Lisa: The Picture and the Myth. Boston, 1975: 151-152, repro.

1976

  • Risatti, Howard. "A French Court Portrait." Bulletin of the Krannert Art Museum 2 (1976): 18, 20, fig. 8.

  • Bunch, Fredrick. "Diane de Poitiers: Iconography as a Window on History." In College Art Association Abstracts of Papers Delivered in Art History Sessions, "Northern Art at the End of the Middle Ages." Chicago, February 1-4, 1976, 64th annual meeting. Chicago, 1976: 101.

1977

  • Eisler, Colin. Paintings from the Samuel H. Kress Collection: European Schools Excluding Italian. Oxford, 1977: 253-257, figs. 241-243, as Lady Bathing with Children and Attendants.

  • Pope-Hennessy, John. "Completing the Account." Review of Colin Eisler, Paintings from the Samuel H. Kress Collection, London 1977. Times Literary Supplement no. 3,927 (17 June 1977).

1978

  • Brown, David Alan, and Konrad Oberhuber. "Monna Vanna and Fornarina: Leonardo and Raphael in Rome." In Essays Presented to Myron P. Gilmore. 2 vols. Florence, 1978: 1:37.

  • Tanaka, Hidemichi. "Les deux Venus au bain: Un nouvelle analyse sur la 'Gabrielle d'Estrées et une de des soeurs' du Louvre." Art History (Tohuku University, Japan) 1 (1978): 23, fig. 5.

1979

  • Watson, Ross. The National Gallery of Art, Washington. New York, 1979: 60, pl. 42.

  • Chastel, André. Fables, formes, figures. 2 vols. Paris, 1978: 1:269-270, repro.

  • Jacobs, Michael. Nude Painting. New York, 1979: 44, repro.

1980

  • Blunt, Anthony. Art and Architecture in France: 1500 to 1700. 4th ed. Harmondsworth, 1980: 119, fig. 90.

1983

  • Bradshaw, Jillian, and Dorothy M. Jones. "Luxury, Love, and Charity: Four Paintings from the School of Fontainebleau." Australian Journal of Art 3 (1983): 39-40, 43-45, 47-49, 53-57, repro.

1984

  • Ingenhoff-Danhäuser, Monika. Maria Magdalena: Heilige und Sünderin in der italienischen Renaissance. Tübingen, 1984: 59, fig 56.

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 224, no. 280, color repro.

1985

  • European Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1985: 92, repro.

  • Snyder, James. Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350-1575. New York, 1985: 519, fig. 588.

  • Ford, Brinsley. "Pictures lost to the Nation." NACF Magazine 29 (Christmas 1985): 21, repro. 20.

1987

  • Delay, Florence. Les Dames de Fontainebleau. Milan, 1987: 53, 57, 60, fig. 39.

  • Lawner, Lynne. Lives of the Courtesans: Portraits of the Renaissance. New York, 1987: 159-160, 208 n. 40, repro.

1990

  • Campbell, Lorne. Renaissance Portraits: European Portrait-Painting in the 14th, 15th, and 16th Centuries. New Haven, 1990: 6-7, 109, color fig. 15.

1991

  • Plogsterth, Ann. "The Institution of the Royal Mistress and the Iconography of Nude Portraiture in Sixteenth-Century France." Ph.D. dissertation, Columbia University, New York, 1991: 2-3, 34, 150-151, 157-158, 172-188, 221, 263-267, fig. 19.

  • Zerner, Henri. “La Dame au Bain.” Le corps à la Renaissance: actes du xxxè colloque de Tours, 1987. Paris, 1991: 95-111, fig. 40.

1992

  • Sixteenth Century Renaissance Painting. Vol. 2: A Reading and Viewing of Famous Paintings. Tokyo, 1992: 123-125, repro. (in Japanese).

  • Châtelet, Albert. La peinture française, XVe et XVIe siècles. Geneva, 1992: 96, 110-113, repro.

  • National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 160, repro.

  • Romm, Sharon. The Changing Face of Beauty. St. Louis, 1992: 209, repro.

  • Grèce, Michel de. Portrait et seduction. Paris, 1992: 164-165, repro.

  • Scaillierez, Cécil. “Clouet, François.” In Allgemeines Künstler-Lexikon: die bildenden Künstler aller Zeiten und Völker. Edited by Günther Meissner. 87+ vols. Munich and Leipzig, 1992+: 19(1998):595, 596.

1993

  • Kurzel-Runtscheiner, Monica. Glanzvolles Elend: Die Inventare der Herzogin Jacobe von Jüglich-Kleve-Berg (1558-1597) und die Bedeutung von Luxusgüttern für die höfische Frau des 16. Jahrhunderts. Vienna, 1993: fig. 60.

  • Chastel, André. L’art français. 6 vols. Paris, 1993. Vol. 2. Temps modernes 1420 – 1620: 232-234, repro.

1994

  • Kamekura, Yusaku and Kijima, Shunsuke. Jozo ["Portraits of Women"]. Tokyo, 1994: 149, repro.

  • Sewell, Brian. "Lesbian Images." Antique International 8 (Summer 1994): 646-648, repro.

1995

  • Cox-Rearick, Janet. The Collection of Francis i: Royal Treasures. Antwerp, 1995: 154.

1996

  • Mori Yoko, Wakakuwa Midori. Manierisumu. New History of World Art series, 1992-1997, vol. 15. Tokyo, 1996: 390, fig. 82.

  • Berstein, Serge, et al. Histoire seconde. Paris, 1996: 165, no. 18, repro.

  • Zerner, Henri. L'art de la renaissance en France: L'invention du classicisme. Paris, 1996: 189-191, 198, 199, color fig. 215, 216.

  • Knab, Eckhart. “Clouet.” In The Dictionary of Art. Edited by Jane Turner. 34 vols. New York and London, 1996: 7:465, repro.

1997

  • Jollet, Etienne. Jean & François Clouet. Paris, 1997: 266-267, 272-273, repro.

1998

  • Apostolos-Cappadona, Diana. “Toilet Scenes." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:873.

  • Yūkō Shuppan. Seiyō kaiga 300-sen. Tokyo, 1998: 162, repro.

1999

  • Smeyers, Jos and Maurits Smeyers. Misschein het tedere begrijpen: Dicter bij kunst. Leuven, 1999: 45, repro.

  • Gotfredson, Lise. The Unicorn. New York, 1999: 129-130, repro.

  • Zorach, Rebecca Elizabeth. “The Figuring of Excess in French Renaissance Art.” 2 vols. PhD diss., University of Chicago, 1999: 313 – 329, 457, fig. 6.2.

2000

  • Brauchitsch, Boris von. Renaissance - Das 16. Jahrhundert: Galerie der grossen Meister. Text by Ulrich Pfisterer and Anna Rühl. Cologne, 2000: 146-147, color repro.

2004

  • Danziger, Elon. "The Cook Collection: Its Founder and Its Inheritors." The Burlington Magazine 146, no. 1216 (July 2004): 448.

  • Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 116-117, no. 89, color repro.

  • Ruby, Sigrid. "Das Porträt der schönen Frau bei François Clouet and Pierre de Ronsard.” In (En)gendered: Frühneuzeitlicher Kunstdiskurs und weibliche Porträtkultur nördlich der Alpen, edited by Simone Rogendord and Sigrid Ruby. Marburg, 2004: 71-74, 79-86, repro.

2005

  • Baillio, Joseph, et al. The Arts of France from François Ier to Napoléon Ier: A Centennial Celebration of Wildenstein's Presence in New York. Exh. cat. Wildenstein & Co., Inc., New York, 2005: 99-100, fig. 10b (not in the exhibition).

  • Richard, Paul. "From the Collection: Washington's Prized Possessions." Washington Post (December 18, 2005): N8, color repro.

  • Fahy, Everett, ed. The Wrightsman Pictures. New Haven, 2005: 21.

2007

  • Ruby, Sigrid. “Diane de Poitiers: veuve et favorite.” In Patronnes et mecènes en France à la Renaissance, edited by Kathleen Wilson-Chevalier with Eugene Pascal. Saint-Étienne, 2007: 382, nt. 5.

2009

  • Hand, John Oliver. "A Lady in Her Bath." In French Paintings of the Fifteenth through the Eighteenth Century by Philip Conisbee et al. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 2009: 115-122, no. 23, color repro.

  • Fagnard, Laure. Léonard de Vinci en France: collections et collectionneurs (XVème – XVIIème siècles). Rome: Bretschneider, 2009: 70, 128, 393, fig. 24a.

2012

  • Christie's New York. "School of Fontainbleau, circa 1600: Gabrielle d'Estrés and Her Sister, the Duchess of Villars." In The Art of France, sale code "Honore 2625" (January 25, 2012): 12, under lot 103.

Inscriptions

lower center on edge of bathtub: FR.IANETII.OPVS

Wikidata ID

Q8703020

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