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Lafond, Paul. Degas. 2 vols. (Paris: H. Floury, 1918-19), vol. 2 (1919), ill. facing p. 14.
Lafond, Paul. Degas. 2 vols. (Paris: H. Floury, 1918-19), vol. 2 (1919)
Citation (Bibliographic Reference) Sequence
Exposition Degas au profit de la ligue Franco-Anglo-Américaine contre le cancer: peintures, pastels et dessins, sculptures, eaux-fortes, lithographies et monotypes, exh. cat. (Paris: Galeries Georges Petit, 1924), p. 35, no. 38.
Exposition Degas au profit de la ligue Franco-Anglo-Américaine contre le cancer: Peintures, pastels et dessins, sculptures, eaux-fortes, lithographies et monotypes, exh. cat. (Paris: Galeries Georges Petit, 1924)
Jamot, Paul, and Paul Vitry. Degas: Portraitiste, sculpteur, exh. cat. (Paris: Musée de l'Orangerie, 1931), p. 54, no. 54.
Jamot, Paul, and Paul Vitry. Degas: Portraitiste, sculpteur, exh. cat. (Paris: Musée de l'Orangerie, 1931)
Exhibition of Masters of French 19th Century Painting, exh. cat. (London: New Burlington Galleries, 1936), p. 31, no. 61.
Exhibition of Masters of French 19th Century Painting, exh. cat. (London: New Burlington Galleries, 1936)
Lemoisne, Paul A. Degas et son oeuvre. 4 vols. (Paris: Paul Brame et C. M. de Hauke, 1946; repr., New York and London: Garland, 1984), vol. 2, pp. 160-61, no. 316, ill.
Lemoisne, Paul A. Degas et son oeuvre. 4 vols. (Paris: Paul Brame et C. M. de Hauke, 1946; repr., New York and London: Garland, 1984), vol. 2
Byrnes, James B. "Edgar Degas, His Paintings of New Orleanians Here and Abroad." In Edgar Degas: His Family and Friends in New Orleans, exh. cat. (New Orleans: Isaac Delgado Museum of Art, 1965), pp. 46, 51, pl. 8.
Byrnes, James B. "Edgar Degas, His Paintings of New Orleanians Here and Abroad." In Edgar Degas: His Family and Friends in New Orleans, exh. cat. (New Orleans: Isaac Delgado Museum of Art, 1965)
Russoli, Franco, and Fiorella Minervino. L'opera completa di Degas (Milan: Rizzoli, 1970), p. 102, no. 353, ill.
Russoli, Franco, and Fiorella Minervino. L'opera completa di Degas (Milan: Rizzoli, 1970)
Edgar Degas, exh. cat. (New York: Acquavella Galleries, 1978), unpaginated, no. 9, ill.
Edgar Degas, exh. cat. (New York: Acquavella Galleries, 1978)
Boggs, Jean Sutherland, et al. Degas, exh. cat. (New York: Metropolitan Museum of Art, 1988), pp. 184-85, no. 114, ill., entry by Henri Loyrette.
Boggs, Jean Sutherland, et al. Degas, exh. cat. (New York: Metropolitan Museum of Art, 1988)
Boggs, Jean Sutherland. "Degas as a Portraitist." In Degas Portraits, exh. cat. Felix Baumann and Marianne Karabelnik, eds. (Zurich: Kunsthaus, with Merrell Holberton, 1995), p. 29, ill.
Boggs, Jean Sutherland. "Degas as a Portraitist." In Degas Portraits, exh. cat. Felix Baumann and Marianne Karabelnik, eds. (Zurich: Kunsthaus, with Merrell Holberton, 1995)
Feigenbaum, Gail, et al., eds. Degas and New Orleans: A French Impressionist in America, exh. cat. (New Orleans: New Orleans Museum of Art, with Ordrupgaard, 1999), pp. 190-92, 266, no. 21, ill., entry by Jean Sutherland Boggs.
Feigenbaum, Gail, et al., eds. Degas and New Orleans: A French Impressionist in America, exh. cat. (New Orleans: New Orleans Museum of Art, with Ordrupgaard, 1999)
Kessler, Marni Reva. "Ocular Anxiety and the Pink Tea Cup: Edgar Degas's 'Woman with Bandage.'" Nineteenth-Century Art Worldwide 5, no. 2 (Autumn 2006), (accessed November 23, 2010) http://www.19thc-artworldwide.org/index.php/component/content/article/49-autumn06article/160-ocular-anxiety-and-the-pink-tea-cup-edgar-degass-woman-with-bandage.
Kessler, Marni Reva. "Ocular Anxiety and the Pink Tea Cup: Edgar Degas's 'Woman with Bandage.'" Nineteenth-Century Art Worldwide 5, no. 2 (Autumn 2006), http://www.19thc-artworldwide.org/index.php/component/content/article/49-autumn06article/160-ocular-an
The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007), p. 136, ill.
The J. Paul Getty Museum Handbook of the Collections. 7th ed. (Los Angeles: J. Paul Getty Museum, 2007)
McLean, Janet, et al. Impressionist Interiors, exh. cat. (Dublin: National Gallery of Ireland, 2008), pp. 110-11, no. 29, ill., entry by Janet McLean.
McLean, Janet, et al. Impressionist Interiors, exh. cat. (Dublin: National Gallery of Ireland, 2008)
Fredericksen, Burton B. The Burdens of Wealth: Paul Getty and His Museum (Bloomington: Archway Publishing, 2015), p. 401.
Fredericksen, Burton B. The Burdens of Wealth: Paul Getty and His Museum (Bloomington: Archway Publishing, 2015)
Lerolle, Aggy, ed. Henry Lerolle, Paris 1848-1929 (Willaupuis, Belgium: Éditions Wapica, 2022), pp. 95, 97, fig. 86.
Lerolle, Aggy, ed. Henry Lerolle, Paris 1848-1929 (Willaupuis, Belgium: Éditions Wapica, 2022)
Schmitt, Rory O'Neill, and Rosary O'Neill. Edgar Degas in New Orleans (Charleston, SC: The History Press, 2023), p. 49, ill.
Schmitt, Rory O'Neill, and Rosary O'Neill. Edgar Degas in New Orleans (Charleston, SC: The History Press, 2023)
Although the identity of the sitter in this portrait is a mystery, Edgar Degas conveyed her character by capturing the overwhelming sorrow to which she has succumbed. Posed with her head tilted and leaning against the back of her left hand, she appears weary. Her languorous expression and red-rimmed eyes, together with the limp right arm hanging at her side, suggest a physical or emotional malady, though nothing in the painting confirms the cause of her affliction. Hidden beneath a brown robe and full white gown, her pose is ambiguous; it is unclear if she sits, stands, or leans. *The Convalescent* attests to Degas's interest in the world of women--their physical characteristics and surroundings, and their complex emotional and psychological conditions. Unlike traditional nineteenth-century portraits, which were commissioned and usually left the artist's studio upon completion, this depiction of an unidentified woman remained in Degas's studio for at least fifteen years. The painting is unconventional in other ways as well; *The Convalescent* is more psychologically suggestive and spatially ambiguous than typical portraits of the time, such as Franz Xaver Winterhalter's official portrait, *Leonilla, Princess of Sayn-Wittgenstein-Sayn.* Degas's thick, unblended brushstrokes and flattened space bring the figure forward, conveying informality and intimacy.
Attribution 4.0 International (CC BY 4.0)
J. Paul Getty Museum, Los Angeles, California
The J. Paul Getty Trust, Los Angeles, California
Text provided by the J. Paul Getty Museum. Licensed under CC BY 4.0 (http://creativecommons.org/licenses/by/4.0/).
Although the identity of the sitter in this portrait is a mystery, Edgar Degas conveyed her character by capturing the overwhelming sorrow to which she has succumbed. Posed with her head tilted and leaning against the back of her left hand, she appears weary. Her languorous expression and red-rimmed eyes, together with the limp right arm hanging at her side, suggest a physical or emotional malady, though nothing in the painting confirms the cause of her affliction. Hidden beneath a brown robe and full white gown, her pose is ambiguous; it is unclear if she sits, stands, or leans. The Convalescent attests to Degas's interest in the world of women--their physical characteristics and surroundings, and their complex emotional and psychological conditions. Unlike traditional nineteenth-century portraits, which were commissioned and usually left the artist's studio upon completion, this depiction of an unidentified woman remained in Degas's studio for at least fifteen years. The painting is unconventional in other ways as well; The Convalescent is more psychologically suggestive and spatially ambiguous than typical portraits of the time, such as Franz Xaver Winterhalter's official portrait, Leonilla, Princess of Sayn-Wittgenstein-Sayn. Degas's thick, unblended brushstrokes and flattened space bring the figure forward, conveying informality and intimacy.
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Related Media (Image): Main View, post-cons.
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Objects Exhibited in Exposition Degas au profit de la ligue Franco-Anglo-Américaine contre le cancer: Peintures, pastels et dessins, sculptures, eaux-fortes, lithographies et monotypes at Galerie Georges Petit, Paris
Exposition Degas au profit de la ligue Franco-Anglo-Américaine contre le cancer: Peintures, pastels et dessins, sculptures, eaux-fortes, lithographies et monotypes at Galerie Georges Petit, Paris
Exposition Degas au profit de la ligue Franco-Anglo-Américaine contre le cancer: Peintures, pastels et dessins, sculptures, eaux-fortes, lithographies et monotypes
Objects Exhibited in Degas: Portraitiste, sculpteur at Musée de l'Orangerie, Paris
Degas: Portraitiste, sculpteur at Musée de l'Orangerie, Paris
Objects Exhibited in Exhibition of Masters of French 19th Century Painting at New Burlington Galleries, London
Exhibition of Masters of French 19th Century Painting at New Burlington Galleries, London
Exhibition of Masters of French 19th Century Painting
Objects Exhibited in Edgar Degas, His Family and Friends in New Orleans at Isaac Delgado Museum, New Orleans
Edgar Degas, His Family and Friends in New Orleans at Isaac Delgado Museum, New Orleans
Edgar Degas, His Family and Friends in New Orleans
Objects Exhibited in Edgar Degas at Acquavella Galleries, Inc., New York
Edgar Degas at Acquavella Galleries, Inc., New York
Objects Exhibited in Degas at Galeries nationales du Grand Palais, Paris
Degas at Galeries nationales du Grand Palais, Paris
Objects Exhibited in Degas at National Gallery of Canada, Ottawa
Degas at National Gallery of Canada, Ottawa
Objects Exhibited in Degas at The Metropolitan Museum of Art, New York
Degas at The Metropolitan Museum of Art, New York
Objects Exhibited in Degas and New Orleans: A French Impressionist in America at New Orleans Museum of Art, New Orleans
Degas and New Orleans: A French Impressionist in America at New Orleans Museum of Art, New Orleans
Degas and New Orleans: A French Impressionist in America
Objects Exhibited in Degas and New Orleans: A French Impressionist in America at Ordrupgaard, Charlottenlund
Degas and New Orleans: A French Impressionist in America at Ordrupgaard, Charlottenlund
Objects Exhibited in Degas at the Getty at J. Paul Getty Museum at the Getty Center, Los Angeles
Degas at the Getty at J. Paul Getty Museum at the Getty Center, Los Angeles
Objects Exhibited in Impressionist Interiors at National Gallery of Ireland, Dublin
Impressionist Interiors at National Gallery of Ireland, Dublin
Related Media Set for The Convalescent (2002.57)
Verso: upper center, white circular label, printed in black: “H. GERFAUD / EMBALLAGE & TRANSPORT / D'OBJETS D'ART / 14, Rue de la Grande-Batelière / PARIS Provence 83-96 / [written in red:] 24”; center, white rectangular label, printed in black: “A 5756”; center right, white rectangular label, printed in black: “No. / [printed in red:] 64485 / [printed in black:] PICTURE”
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Artist/Maker (Producer) Nationality & Dates
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Getty Center, Museum West Pavilion, Gallery W204
Homepage for The Convalescent (2002.57) (HumanMadeObject)
Provenance Acquisition for The Convalescent (2002.57) associated with Edgar Degas; subsequently sold to Durand-Ruel & Cie, Paris, 1887.
Provenance Activity for The Convalescent (2002.57) associated with Edgar Degas
Provenance Acquisition-Related Identifier
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Provenance Activity Proofed Classification
Provenance Activity for The Convalescent (2002.57) associated with Galerie Durand-Ruel (Paris)
Provenance Actor Presentation Sequence Attribution
Provenance Acquisition for The Convalescent (2002.57) associated with Galerie Durand-Ruel (Paris); subsequently sold to Henry Lerolle, 1888.
Provenance Activity for The Convalescent (2002.57) associated with Henry Lerolle
Provenance Acquisition for The Convalescent (2002.57) associated with Henry Lerolle; subsequently by inheritance to his wife, Madeleine (Escudier) Lerolle, 1929.
by inheritance to his wife, Madeleine (Escudier) Lerolle, 1929.
Provenance Activity for The Convalescent (2002.57) associated with Madeleine (Escudier) Lerolle
Provenance Acquisition for The Convalescent (2002.57) associated with Madeleine (Escudier) Lerolle; subsequently probably by inheritance to her son, Guillaume Lerolle, 1937.
probably by inheritance to her son, Guillaume Lerolle, 1937.
Provenance Activity for The Convalescent (2002.57) associated with Guillaume Lerolle
Provenance Acquisition for The Convalescent (2002.57) associated with Guillaume Lerolle
Archives of American Art, Jacques Seligmann & Co. records, Collectors: Lerolle, Guillaume, box 192, folder 37, p. 6, 'Inventoire de la Collection Lerolle'.
Provenance Citation Sequence Attribution
Provenance Activity for The Convalescent (2002.57) associated with Captain Edward Molyneux
Provenance Acquisition for The Convalescent (2002.57) associated with Captain Edward Molyneux; subsequently sold to M. Knoedler & Co. and Pinakos Inc., 1954.
sold to M. Knoedler & Co. and Pinakos Inc., 1954.
GRI, M. Knoedler & Co. records, stock book 10, p. 132, no. 5756.
Provenance Activity for The Convalescent (2002.57) associated with M. Knoedler & Co. (New York) & Pinakos Inc.
Provenance Acquisition for The Convalescent (2002.57) associated with M. Knoedler & Co. (New York) & Pinakos Inc.
GRI, M. Knoedler & Co. records, sales book 17, p. 361, no. A-5756; box 148 (sold alphabetical artists, 1907-1973), card for Degas, "Port. of Desiree Musson."
Provenance Activity for The Convalescent (2002.57) associated with John L. Loeb
Provenance Acquisition for The Convalescent (2002.57) associated with John L. Loeb; subsequently by inheritance to his son, John L. Loeb, Jr., 1996.
by inheritance to his son, John L. Loeb, Jr., 1996.
Provenance Activity for The Convalescent (2002.57) associated with John L. Loeb, Jr.
Provenance Acquisition for The Convalescent (2002.57) associated with John L. Loeb, Jr.; subsequently sold through Gagosian Gallery (New York, New York) to the J. Paul Getty Museum, 2002.
sold through Gagosian Gallery (New York, New York) to the J. Paul Getty Museum, 2002.
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CC0 1.0 Universal (CC0 1.0) Public Domain Dedication
Acknowledgements for Collection Metadata
Collection metadata provided by the J. Paul Getty Museum. Licensed under CC0 1.0 (http://creativecommons.org/publicdomain/zero/1.0/).