curatorial

Jupiter in the Guise of Diana, and the Nymph Callisto is one of François Boucher’s most vivid small pictures, just the sort of intimate, delicately painted work that would have found a place in a private collector’s cabinetcabinet: A room designated for an art collection, usually drawings, prints, or objets d’art in a Parisian house. The curvilinear forms, dense pictorial field, and contrasting palette of pinks, reds, greens, and blues, together with the forthrightly erotic subject, epitomize the peak of the RococoRococo: Developed under the reign of Louis XV (r. 1715–74) and his mistress the Marquise de Pompadour (1721–64), the Rococo style featured sensual, pastoral, and mythological subjects set in silvery light and created in painterly, soft colors. The works of François Boucher epitomize the style that spread to every medium, including furniture and decorative arts. style associated with art in France during the long reign of King Louis XV, from 1715 to 1774.

Boucher focused the composition on the intertwined forms of two young women, one completely naked and reclining across the lap of the other, partially clothed. They nestle in an overgrown bower, seemingly deep in the woods, partially protected by a flowing pink drapery strung from the trees. A trio of winged cupids, or amours (loves), flutter around the couple, two flying above and a third lying across the legs of the woman at the left. Two hold small arrows or darts, with the one at top center also brandishing a burning torch. A strong shaft of light picks out the two lovers, enveloping them in a warm glow against the cool density of the surrounding bower. Art historian Melissa Hyde notes that Boucher positioned the reclining woman’s body for maximum erotic display, “a sinuous panorama of delectable female flesh.”¹Melissa Hyde, Making Up the Rococo: François Boucher and His Critics (Los Angeles: Getty Research Institute, 2006), 205.

The attributes associated with the woman seated behind—a crescent moon diadem in her hair, a leopard-fur fabric wrapped around her legs, a brace of birds (pheasants?) at which she points—seem to identify her as Diana, Roman goddess of the moon and of the hunt. Consequently, the deep forest would represent Arcadia, the idyllic land where the chaste goddess hunted with her nymphs. Most viewers in Boucher’s time would have easily recognized these details, but they also eventually would have noticed the improbable intrusion of a fierce eagle, clutching tiny thunderbolts in its talons, just visible at upper right, above the pink drape. This would have made it clear to all that the subject is not Diana and one of her companions, but Jupiter and Callisto, a peculiar mythological episode with which Boucher was especially enamored.

The story of Callisto and her violation by Jupiter was recounted in numerous ancient sources, with variations, but Boucher followed the familiar version told in The Metamorphoses, a compendium of ancient tales written in Latin by the first-century writer Ovid.²Boucher would have known the French translation by Antoine Banier (Les Métamorphoses d’Ovide, en Latin, traduites en François [sic], avec des remarques, et des explications historiques (Paris: Aux dépens de la Compagnie, 1742), 2: 107–09. These popular stories of the gods of Olympus manipulating the lives of mortals served as a primary source of subjects for European artists across the centuries. The sexual violence and complex gender dynamics embedded in the tragedy of Jupiter and Callisto typify the genre. The great god of Olympus, surveying the lush landscape of Arcadia, spies the beautiful young Callisto—a favorite nymph and hunting companion of Diana—asleep in the woods, her head resting on her quiver. Filled with lust, Jupiter conspires to take her by force: “il conçoit pour elle un amour violent” (he conceives a violent love for her) is the phrase in the French edition of the text Boucher would have consulted.³Banier, Métamorphoses d’Ovide,2:107. Knowing that the virginal Callisto would flee from his advances, Jupiter transforms himself into Diana, the one person Callisto trusts implicitly. Through this subterfuge, Jupiter embraces Callisto, showering her with kisses and regaling her with tales of the hunt. This is the moment Boucher chose to depict, as Callisto swoons innocently in the arms of the faux-Diana. Only the fierce glare of the eagle and the ominous hovering of the mischievous cupids, fingering their darts, hint at the coming assault. By focusing on this particular moment, Boucher shielded his audience from witnessing the ensuing rape; some viewers may still take pleasure in the apparent consensual intimacy expressed by the two protagonists.

Fig. 1. François Boucher, Diana and Callisto, 1750s, black chalk, 9 1/8 x 13 3/8 in. (23.5 x 34 cm), private collection. Photo © Christie’s Images/Bridgeman Images

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Boucher’s inclination to focus on the moment of Diana-Jupiter’s seduction of Callisto—he painted the subject at least a dozen times over the course of his working life—allowed him to indulge his preference for representing female over male protagonists.⁷As noted by Alastair Laing, François Boucher 1703–1770, exh. cat. (New York: Metropolitan Museum of Art, 1986), 283. By this time in his career, he purportedly had no need to use models but could draw from a mental storehouse of poses that he employed in a variety of situations.⁸As reported by the English painter Joshua Reynolds when he visited Boucher’s studio in 1768: “I found him at work on a very large picture, without drawings or models of any kind. On my remarking this particular circumstance, he said, when he was young, studying his art, he found it necessary to use models; but he had left them off for many years.” Robert R. Wark, ed., Discourses on Art, 3rd ed. (New Haven: Yale University Press, 1997), 225. The visual appeal of a painting like Jupiter in the Guise of Diana lay presumably in its very artifice, a magical world of make-believe or role-playing that was enhanced by the artist’s fluid brushstrokes and glowing palette.

The erotic dimension of the painting was no less complex: indeed, the Nelson-Atkins painting has served as the focal point for several recent scholarly analyses exploring the implications of such a representation of apparent same-sex coupling. For Erica Rand, the overt display of lesbian sex—appealing no doubt to a range of male and female viewers—was acceptable insofar as it would have been recognized to be nothing of the sort, since the faux-Diana would soon reveal her true identity as the very male Jupiter. “Boucher’s critics,” she writes, “could see erotically enlaced women, but they could not see anything that challenged heterosexuality.” However, as much as such an image might engage the viewer’s fantasies, “there are many reasons to conclude that Boucher perpetuates rather than subverts a heterosexual norm.”⁹Erica Rand, “Lesbian Sightings: Scoping for Dykes in Boucher and Cosmo,” Journal of Homosexuality 27, nos. 1/2 (1994): 132, 134.

Melissa Hyde argues that Boucher’s pictorial representation of the characters in Jupiter in the Guise of Diana undermines traditional codes for sexual difference, something that Ovid’s original text manages to avoid. In the artist’s earlier versions, such as the 1744 painting in Moscow’s Pushkin Museum, Diana (Jupiter) carries some of the pictorial markers of masculinity: darker skin, a larger form, more angular limbs. In the Nelson-Atkins painting, Boucher differentiates less between the two genders. Both Diana-Jupiter and Callisto conform similarly to the artist’s stylistic patterns for his female protagonists. The resulting effect on the viewer, Hyde suggests, is a (momentary) confusion, whereby we read the faux-Diana as Diana and not as Jupiter in disguise. As part of this strategy of pictorial subterfuge, identifying attributes—in particular the eagle—are obscured, barely noticeable at first glance. Thus, she concludes, “Boucher’s treatment of the subject . . . holds Jupiter’s male and female identities in unresolved tension, and Boucher thereby offers an image of bi-gendered simultaneity that complicates the expected oppositions of sex.”¹⁰Hyde, Making Up the Rococo, 207.

In a counterargument, Christopher Bedford challenges these readings as speculative and ahistorical in their references to contemporary gender dynamics. He calls for an interpretive framework for the Nelson-Atkins painting that he insists would be truer to “the context of its conception as well as from its textual origin.” This context he finds in eighteenth-century rituals of gender masquerade and mimicry among elite patrons, “not as a form of gender subversion, but rather as a conventional device common to French eighteenth-century seduction fantasies.”¹¹Christopher Bedford, “High Fidelity?: Deception and Seduction, Word and Image in Boucher’s Jupiter in the Guise of Diana Seducing Callisto,” Word and Image 27, no. 1 (January–March 2011): 47–64. In this sense, he argues, a painting like Jupiter in the Guise of Diana “indict[s] Boucher” as complicit in reinforcing patriarchal sexual hierarchies that trace back to Ovid’s originating text. One might object in response that Boucher’s pictorial strategy—that he chose to depict this episode of the story shown in this particular way—was intended to release the viewer from just that sort of originating context Ovid’s tale would seek to impose.

Fig. 2. René Gaillard (ca. 1719–90), after François Boucher, Jupiter and Callisto, 1760, etching with colophon, 15 7/16 x 18 15/16 in. (39.2 x 48.1 cm), Rijksmuseum, Amsterdam, RP-P-OB-43.468

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The subject of Boucher’s painting occasioned some disquiet among the museum’s advisors and trustees in the period leading up to its acquisition. Writing to trustee Arthur Hyde, art advisor Harold Woodbury Parsons noted the concerns raised about “whether the subject of this Boucher might not startle the public,” and requested that Hyde might comment on the painting, “especially regarding its pudicity.” Parsons offered his own view that “a fine rendering of the nude, in any period of art, whether in Greek sculpture or in the field of painting, is a very wonderful thing provided it is executed in good taste.”¹⁴Harold Woodbury Parsons to Arthur Hyde, January 24, 1931, NAMA curatorial files. Hyde seems to have agreed with Parsons’s point, and in the end the picture’s purchase was approved by the trustees.¹⁵“Secretary Hyde writes me that he approves fully of the purchase of the charming little Boucher”; Harold Woodbury Parsons to trustee J. C. Nichols, February 4, 1931, NAMA curatorial files.

Fig. 3. François Boucher, Three Putti in Clouds, ca. 1759, black, white, and red chalk on buff paper, 7 7/8 x 11 3/8 in. (20 x 28.7 cm), Nelson-Atkins Museum of Art, purchase: acquired with the generous assistance of Helen Cronin Bourke in honor of Ross Taggart, 83-27.

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Notes

1. Melissa Hyde, Making Up the Rococo: François Boucher and His Critics (Los Angeles: Getty Research Institute, 2006), 205.

2. Boucher would have known the French translation by Antoine Banier (Les Métamorphoses d’Ovide, en Latin, traduites en François [sic], avec des remarques, et des explications historiques (Paris: Aux dépens de la Compagnie, 1742), 2:107–09.

3. Banier, Métamorphoses d’Ovide, 2:107.

4. “Elle fit toute la résistance dont elle étoit capable”; Banier, Métamorphoses d’Ovide, 2:109.

5. The drawing was sold at auction in 2016 (Old Master and British Drawings, Christie’s, New York, January 27, 2016, lot 61). See also Regina Shoolman Slatkin, François Boucher in North American Collections: 100 Drawings, exh. cat. (Washington, DC: National Gallery of Art, 1973), 59–60, no. 45. For two other drawings, see Artcurial, Dessins et tableaux anciens et du XIXe siècle, archéologie, orfèvrerie, objets d’art et bel ameublement, Paris, December 19, 2006, lot 11; and Sotheby’s, Old Master Drawings, New York, January 23, 2008, lot 202, https://www.sothebys.com/en/auctions/ecatalogue/2008/old-master-drawings-n08403/lot.202.html.

6. As suggested by Alastair Laing, Christie’s, Old Master and British Drawings, New York, January 27, 2016, lot 61, https://www.christies.com/lot/lot-5970507.

7. As noted by Alastair Laing, François Boucher 1703–1770, exh. cat. (New York: Metropolitan Museum of Art, 1986), 283.

8. As reported by the English painter Joshua Reynolds when he visited Boucher’s studio in 1768: “I found him at work on a very large picture, without drawings or models of any kind. On my remarking this particular circumstance, he said, when he was young, studying his art, he found it necessary to use models; but he had left them off for many years.” Robert R. Wark, ed., Discourses on Art, 3rd ed. (New Haven: Yale University Press, 1997), 225.

9. Erica Rand, “Lesbian Sightings: Scoping for Dykes in Boucher and Cosmo,” Journal of Homosexuality 27, nos. 1/2 (1994): 132, 134.

10. Hyde, Making Up the Rococo, 207.

11. Christopher Bedford, “High Fidelity?: Deception and Seduction, Word and Image in Boucher’s Jupiter in the Guise of Diana Seducing Callisto,” Word and Image 27, no. 1 (January–March 2011): 47–64.

12. Alexandre Ananoff and Daniel Wildenstein, François Boucher (Lausanne: Bibliothèque des Arts, 1976), 1:190, fig. 1436. 

13. Catalogue d’une belle Collection de Tableaux et d’Estampes, et de belles Porcelaines, provenant de la succession de M. de Montblin, Conseiller au Parlement (Paris: Le Noir, 1777), lot 4: “est des plus agréables Tableaux de ce Maître.” Alastair Laing’s suggestion (François Boucher, 284n7) that the painting may have been inserted into the sale from another collection seems unlikely, as first pointed out by Colin B. Bailey, Loves of the Gods: Mythological Painting from Watteau to David, exh. cat. (Fort Worth: Kimbell Art Museum, 1992), 419.

14. Harold Woodbury Parsons to Arthur Hyde, January 24, 1931, NAMA curatorial files.

15. “Secretary Hyde writes me that he approves fully of the purchase of the charming little Boucher”; Harold Woodbury Parsons to trustee J. C. Nichols, February 4, 1931, NAMA curatorial files.

16. See Roger Ward, Dürer to Matisse: Master Drawings from The Nelson-Atkins Museum of Art, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1996), 144–46.

17. Roger Ward, “A Drawing for Boucher’s ‛Jupiter and Callisto’ at Kansas City,” Burlington Magazine 125, no. 969 (December 1983): 753.

conservation

François Boucher’s Jupiter in the Guise of Diana, and the Nymph Callisto was executed on a plain-weaveplain weave: A basic textile weave in which one weft thread alternates over and under the warp threads. Often this structure consists of one thread in each direction, but threads can be doubled (basket weave) or tripled to create more complex plain weave. Plain weave is sometimes called tabby weave. canvas that has been linedlining: A procedure used to reinforce a weakened canvas that involves adhering a second fabric support using adhesive, most often a glue-paste mixture, wax, or synthetic adhesive., and the tacking margins are removed.¹Information about the original canvas is limited, as the tacking margins were removed during a previous lining. Boucher is known to have painted on mixed hemp and linen supports; see Katrina Vanderlip de Carbonnel, “A Study of French Painting Canvases,” Journal of the American Institute for Conservation (Fall 1980): 3–20. X-radiographyX-ray radiography (also referred to as x-radiography or radiography): Radiography is an examination tool analogous to the use of X-rays in medicine whereby denser components of a painted composition can be recorded as an inverted shadow image cast on film or a digital X-ray imaging plate from a source such as an X-ray tube. The method has been used for more than a century and is most effective with dense pigments incorporating metallic elements such as lead or zinc. It can reveal artist changes, underlying compositions, and information concerning the artwork’s construction and condition. The resulting image is called an x-radiograph or radiograph. It differs from the uses of X-ray spectrometry in being dependent on the density of the paint to absorb X-rays before they reach the film or image plate and being non-specific as to which elements are responsible for the resulting shadow image. reveals strong cuspingcusping: A scalloped pattern along the canvas edges that relates to how the canvas was stretched. Primary cusping reveals where tacks secured the canvas to the support while the ground layer was applied. Secondary cusping can form when a pre-primed canvas is re-stretched by the artist prior to painting. along the top and left perimeters and only a subtle pattern at the right and bottom edges, indicating that the painting is close to its original size (Fig. 4).²See film-based radiographs, no.180, May 9, 1983, NAMA conservation file, 31-29. The canvas was prepared with a double groundground layer: An opaque preparatory layer applied to the support, either commercially or by the artist, to prevent absorption of the paint into the canvas or panel. See also priming layer., consisting of a thin lower red layer and a thicker, upper light gray layer containing coarse black particles (Fig. 5).³Similar double grounds have been identified in other Boucher paintings, such as Venus and Mercury Instructing Cupid (1738; Los Angeles County Museum of Art), Landscape with a Water Mill (1740; Nelson-Atkins Museum of Art), and Cupid Wounding Psyche (1741; Los Angeles County Museum of Art). See Elma O’Donoghue and Virginia Rasmussen, “The Treatment of Two Overdoor Paintings by François Boucher,” AIC Paintings Specialty Group Postprints (1996): 41–42; and Mary Schafer, “François Boucher, Landscape with a Water Mill, 1740,” technical entry in this catalogue, https://doi.org/10.37764/78973.5.304.2088.

Fig. 4. Radiograph of Jupiter in the Guise of Diana, and the Nymph Callisto (1759)

fullscreen Fig. 4. Radiograph of Jupiter in the Guise of Diana, and the Nymph Callisto (1759)

Fig. 5. Photomicrograph of Jupiter in the Guise of Diana, and the Nymph Callisto (1759), showing the ground and paint layers in the background with numbers corresponding to the order of application: lower brownish-red ground (1), upper light gray ground (2), brown underpainting (3), and upper paint layer (4)

fullscreen Fig. 5. Photomicrograph of Jupiter in the Guise of Diana, and the Nymph Callisto (1759), showing the ground and paint layers in the background with numbers corresponding to the order of application: lower brownish-red ground (1), upper light gray ground (2), brown underpainting (3), and upper paint layer (4)

No underdrawingunderdrawing: A drawn or painted sketch beneath the paint layer. The underdrawing can be made from dry materials, such as graphite or charcoal, or wet materials, such as ink or paint. was observed beneath the painted composition with either infrared imaginginfrared reflectography (IRR): A form of infrared imaging that exploits the behavior of painting materials at wavelengths beyond those accessible to infrared photography. These advantages sometimes include a continuing increase in the transparency of pigments beyond wavelengths accessible to infrared photography (i.e, beyond 1,000 nanometers), rendering underdrawing more clearly. The resulting image is called an infrared reflectogram. Devices that came into common use in the 1980s such as the infrared vidicon effectively revealed these features but suffered from lack of sharpness and uneven response. Vidicons continue to be used out to 2,200 nanometers but several newer pixelated detectors including indium gallium arsenide and indium antimonide array detectors offer improvements. All of these devices are optimally used with filters constraining their response to those parts of the infrared spectrum that reveal the most within the constraints of the palette used for a given painting. They can be used for transmitted light imaging as well as in reflection. or the stereomicroscope, although Boucher may have used a medium that is difficult to detect by these examination methods. There appears to be a circular hole, 1 millimeter in diameter, piercing both the wet paint layers and the canvas, located to the right of the mossy tree branch above the reclining couple. It is unclear, however, how this mark relates to Boucher’s process and whether it may have included a method of transferring a drawn design to the canvas (Fig. 6).

Fig. 6. Photomicrograph of a pinhole made in the wet paint of Jupiter in the Guise of Diana, and the Nymph Callisto (1759)

fullscreen Fig. 6. Photomicrograph of a pinhole made in the wet paint of Jupiter in the Guise of Diana, and the Nymph Callisto (1759)

Fig. 7. Photomicrograph of trees in Jupiter in the Guise of Diana, and the Nymph Callisto (1759)

fullscreen Fig. 7. Photomicrograph of trees in Jupiter in the Guise of Diana, and the Nymph Callisto (1759)

No preparatory sketch for Jupiter in the Guise of Diana, and the Nymph Callisto has been identified. Roger Ward associated the Nelson-Atkins painting with Three Putti in Clouds (Fig. 3); however, this highly finished trois crayon drawing was likely made as an independent work of art rather than as a preliminary sketch.⁴Roger Ward, “A Drawing for Boucher’s ‛Jupiter and Callisto’ at Kansas City,” Burlington Magazine 125, no. 969 (December 1983): 753. It is important to note that the putti in the drawing do not align precisely with the figures on the Nelson-Atkins painting and therefore could not have been directly transferred or scaled down for the painting. Boucher made thousands of drawings over his career including sketches made in preparation for some of his paintings and finished works for the growing market of collectors. Alastair Laing, The Drawings of François Boucher (New York: American Federation of Arts, 2003). For this same conclusion, see the accompanying catalogue entry by Richard Rand in this catalogue. Boucher appears to have drawn upon and adapted figure types in the NAMA painting, such as the putto with the torch and arrow, from earlier works and continued to reuse them in later compositions.⁵The putto holding a torch and arrow in the Nelson-Atkins painting appears horizontally flipped in the slightly earlier monumental painting by Boucher’s workshop, Vertumnus and Pomona (1757; Fine Arts Museum of San Francisco). Boucher also used this figure type and pose in other works, including a large red and white chalk drawing Cupid Holding a Tambourine and an Arrow Aloft (ca. 1750; Nelson-Atkins Museum of Art) and later in Jupiter and Callisto (1769; Wallace Collection). For more examples of Boucher’s reuse of figures and subjects, see the accompanying lists of Related Works and Drawings by Glynnis Napier Stevenson with Meghan L. Gray in this catalogue.

Extensive wet-over-wetwet-over-wet: An oil painting technique which involves drawing a stroke of one color across the wet paint of another color. and wet-into-wetwet-into-wet: An oil painting technique which involves blending of colors on the picture surface. paint handling throughout the composition indicates that the painting was completed over a relatively short period. Boucher began by applying an orangish-brown washwash: An application of thin paint that has been diluted with solvent. to the background and landscape (Fig. 7). The sky was blocked in using modulated blue tones and the clouds were articulated through strokes of peach, brown, and gray.⁶No analysis has been conducted on the Nelson-Atkins painting to identify the blue particles present within the paint matrix of the sky, blue drapery, plants, and even within the flesh tones of Callisto and Jupiter. Prussian blue was identified in the flesh tones of Venus and Mercury Instructing Cupid; see O’Donoghue and Rasmussen, “The Treatment of Two Overdoor Paintings by François Boucher,” 43. Cross-section analysis revealed the presence of Prussian blue in the sky, foliage, and drapery of The Cherry Gatherers (1768; Kenwood House, London); Catherine Hassall and Libby Sheldon, unpublished report, report no. C263, 1993, UCL Painting Analysis Unit, cited in Jamie Mulherron, “Prussian Blue, Boucher, and Newton: The Material, the Practice, and the Theory of Rococo Painting,” Object 3 (2001): 68–93. The sky was painted concurrently with the trees based on overlapping paint between these two elements. Broad, flat passages established the overall form of the foliage, followed by repetitive directional brushwork and fluid, streaky paint strokes to suggest leaves and branches, respectively. Dabs of paint form highlights that impart a slight texture to the overall smooth surface. Boucher later developed the foreground and right side of the landscape over the orangish-brown wash, with detailed wet-over-wet and wet-into-wet brushwork to capture individual leaves, stems, flowers, and the dead birds (Figs. 8 and 9).

Fig. 8. Photomicrograph of plants in Jupiter in the Guise of Diana, and the Nymph Callisto (1759)

fullscreen Fig. 8. Photomicrograph of plants in Jupiter in the Guise of Diana, and the Nymph Callisto (1759)

Fig. 9. Photomicrograph of birds in Jupiter in the Guise of Diana, and the Nymph Callisto (1759)

fullscreen Fig. 9. Photomicrograph of birds in Jupiter in the Guise of Diana, and the Nymph Callisto (1759)

A reservereserve: An area of the composition left unpainted with the intention of inserting a feature at a later stage in the painting process. was left for the figures, as the forest background and pink drapery extend only slightly beneath them.⁷The x-radiograph shows that elementally dense paint from the background extended into Callisto’s cheek. See film-based radiographs, no.180, May 9, 1983, NAMA conservation file, 31-29. Callisto’s body and face were modeled with thin paint applied in curving, volumetric strokes that emphasize her fullness. Fine, striated pink strokes articulate warm shadows along her legs, with the same paint used to define her nipples and navel. Boucher rendered her facial features concisely, using brown tones to position her nostrils, parting lips, eyelids, and eyebrows, while touches of bright pink and blue paint mark the lips, nasal shadows, and irises. In contrast, Jupiter appears less distinct in the x-radiograph, likely due to this figure’s placement partly in shadow and therefore requiring less elementally dense paint associated with highlights.

Fig. 10. Infrared reflectogram of Jupiter in the Guise of Diana, and the Nymph Callisto (1759), captured at 2150 nanometers, with the pentimenti outlined: yellow indicates the possible change to Callisto’s arm, green to the fur, and red to the white fabric.

fullscreen Fig. 10. Infrared reflectogram of Jupiter in the Guise of Diana, and the Nymph Callisto (1759), captured at 2150 nanometers, with the pentimenti outlined: yellow indicates the possible change to Callisto’s arm, green to the fur, and red to the white fabric.

Technical imaging indicates that Boucher made a minor changepentimento (pl: pentimenti): A change to the composition made by the artist that is visible on the paint surface. Often with time, pentimenti become more visible as the upper layers of paint become more transparent with age. Italian for "repentance" or "a change of mind." to the figures and later altered the fabrics draped around their reclined bodies (Fig. 10). The infrared reflectograminfrared reflectogram: An infrared image captured with an electronic infrared imager, typically in the 1000-2500 nanometer range. See Infrared reflectography (IRR). shows paint extending from Callisto’s elbow through Jupiter’s proper right arm into the background, suggesting a repositioning of Callisto’s arm. The animal skin appears to have once extended across Callisto’s chest and Jupiter’s proper right leg before being covered by subsequent paint. Similarly, the white fabric held in Jupiter’s proper right hand appears to have slightly covered Calisto’s proper right arm at an earlier stage of the painting process.

Fig 11. Photomicrograph of the beige paint along the outer edge of Jupiter in the Guise of Diana, and the Nymph Callisto (1759)

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Jupiter in the Guise of Diana, and the Nymph Callisto was treated at least once prior to its acquisition by the Nelson-Atkins in 1932. The painting was previously stretched onto an auxiliary support with a vertical cross-member, as evident by a pair of vertical cracksstretcher cracks: Linear cracks or deformations in the painting’s surface that correspond to the inner edges of the underlying stretcher or strainer members. in the center of the composition. The tacking margins were removed during a previous lining; however, cusping and beige paint along the outer edges indicates the composition is close to its original dimensions (Fig. 11). In 1958, the painting was cleaned and relined.⁸James Roth, “Department of Conservation,” in Annual Report for 1958, Nelson-Atkins Archives, Kansas City, MO, RG-98, series II, box RG98.05, folder 5, 114–15 Forrest Bailey later cleaned, applied synthetic varnish, and minimally retouched the paint losses and abrasionabrasion: A loss of surface material due to rubbing, scraping, frequent touching, or inexpert solvent cleaning. in 1982.⁹Forrest Bailey, treatment record, September 23, 1982, NAMA conservation file, 32-29. Residues of an earlier natural resin varnish remain trapped within the interstices of the paint surface. At some point in its history, the painting was overcleaned, resulting in extensive paint abrasion in the figures and fabrics. Exposure of the upper gray ground layer has caused the putti and pink drapery to appear darker. The edges of age cracksage cracks: The formation of cracks that occur due to a loss of elasticity in the paint film and priming as these materials age, combined with responses to environmental changes (i.e. expansion and contraction of the support). are abraded and filled with varnish, which is visually distracting in the lighter passages, especially in Jupiter and Callisto. A linear indentation in the paint surface, measuring approximately 6.7 cm long, extends horizontally across Jupiter’s extended leg.¹⁰The indentation in the paint surface pre-dates the wax lining undertaken by James Roth in 1958. See film-based radiographs, no. 34, 1952, NAMA conservation file, 31-29.

Notes

1. Information about the original canvas is limited, as the tacking margins were removed during a previous lining. Boucher is known to have painted on mixed hemp and linen supports; see Katrina Vanderlip de Carbonnel, “A Study of French Painting Canvases,” Journal of the American Institute for Conservation (Fall 1980): 3–20.

2. See film-based radiographs, no.180, May 9, 1983, NAMA conservation file, 31-29.

3. Similar double grounds have been identified in other Boucher paintings, such as Venus and Mercury Instructing Cupid (1738; Los Angeles County Museum of Art), Landscape with a Water Mill (1740; Nelson-Atkins Museum of Art), and Cupid Wounding Psyche (1741; Los Angeles County Museum of Art). See Elma O’Donoghue and Virginia Rasmussen, “The Treatment of Two Overdoor Paintings by François Boucher,” AIC Paintings Specialty Group Postprints (1996): 41–42; and Mary Schafer, “François Boucher, Landscape with a Water Mill, 1740,” technical entry in this catalogue, https://doi.org/10.37764/78973.5.304.2088.

4. Roger Ward, “A Drawing for Boucher’s ‛Jupiter and Callisto’ at Kansas City,” Burlington Magazine 125, no. 969 (December 1983): 753. It is important to note that the putti in the drawing do not align precisely with the figures on the Nelson-Atkins painting and therefore could not have been directly transferred or scaled down for the painting. Boucher made thousands of drawings over his career including sketches made in preparation for some of his paintings and finished works for the growing market of collectors. Alastair Laing, The Drawings of François Boucher (New York: American Federation of Arts, 2003). For this same conclusion, see the accompanying catalogue entry by Richard Rand in this catalogue.

5. The putto holding a torch and arrow in the Nelson-Atkins painting appears horizontally flipped in the slightly earlier monumental painting by Boucher’s workshop, Vertumnus and Pomona (1757; Fine Arts Museum of San Francisco). Boucher also used this figure type and pose in other works, including a large red and white chalk drawing Cupid Holding a Tambourine and an Arrow Aloft (ca. 1750; Nelson-Atkins Museum of Art) and later in Jupiter and Callisto (1769; Wallace Collection). For more examples of Boucher’s reuse of figures and subjects, see the accompanying lists of Related Works and Drawings by Glynnis Napier Stevenson with Meghan L. Gray in this catalogue.

6. No analysis has been conducted on the Nelson-Atkins painting to identify the blue particles present within the paint matrix of the sky, blue drapery, plants, and even within the flesh tones of Callisto and Jupiter. Prussian blue was identified in the flesh tones of Venus and Mercury Instructing Cupid; see O’Donoghue and Rasmussen, “The Treatment of Two Overdoor Paintings by François Boucher,” 43. Cross-section analysis revealed the presence of Prussian blue in the sky, foliage, and drapery of The Cherry Gatherers (1768; Kenwood House, London); Catherine Hassall and Libby Sheldon, unpublished report, report no. C263, 1993, UCL Painting Analysis Unit, cited in Jamie Mulherron, “Prussian Blue, Boucher, and Newton: The Material, the Practice, and the Theory of Rococo Painting,” Object 3 (2001): 68–93.

7. The x-radiograph shows that elementally dense paint from the background extended into Callisto’s cheek. See film-based radiographs, no.180, May 9, 1983, NAMA conservation file, 31-29.

8. James Roth, “Department of Conservation,” in Annual Report for 1958, Nelson-Atkins Archives, Kansas City, MO, RG-98, series II, box RG98.05, folder 5, 114–15

9. Forrest Bailey, treatment record, September 23, 1982, NAMA conservation file, 32-29.

10. The indentation in the paint surface pre-dates the wax lining undertaken by James Roth in 1958. See film-based radiographs, no. 34, 1952, NAMA conservation file, 31-29.

provenance

Hippolyte Louis Marie Michau de Montblin (1740–77), Paris, by 1777;

His posthumous sale, Une belle Collection de Tableaux et d’Estampes, et de belles Porcelaines, provenant de la succession de M. de Montblin, Conseiller au Parlement, Paris, February 25–26, 1777, no. 4, as Jupiter, sous la figure de Diane, surprend Calisto;

Charles-François-René Mesnard, called le Chevalier de Clesle (1732–1803), Paris, by 1786 [1];

Purchased from his sale, Tableaux précieux des trois écoles, pastels, miniatures, émaux, Dessins montés et en feuilles, Terres cuites, Vases de marbre et Porcelaines rares, Objets d’Histoire naturelle, Agates orientales, Laques, Meubles précieux et autres Objets de Curiosité, Estampes en feuilles, etc, Le tout provenant du Cabinet de M. le Chevalier de C[lesle], Hôtel de Bullion, Paris, December 4, 1786, no. 65, as Jupiter métamorphosé sous la figure de Diane, séduisant la nimphe [sic] Callisto, by Jean-Baptiste-Pierre Le Brun, Paris, 1786 [2];

Charles Alexandre de Calonne (1734–1802), London, by 1795;

Sold or bought in at his sale, All That Noble and Superlatively Capital Assemblage of Valuable Pictures, Drawings, Miniatures, and Prints, the Property of the Right Hon. Charles Alexander De Calonne, Late Prime Minister of France, Selected with Equal Taste, Judgment, and Liberality, During his Residence in France, and his Travel through Italy, Germany, Flanders, and Holland, and while in England, at the Immense Expence of Above Sixty Thousand Guineas, There Is Also Included A Small Elegant Collection of Cabinet Pictures, Bequeathed to Him by the Late Monsieur d’Arveley, High Treasurer of France; Forming together the most splendid Collection in Europe, which were intended for a magnificent Gallery at his late House in Piccadilly Comprising The Inestimable Works of the most admired Masters of the Roman, Florentine, Bolognese, Venetian, Spanish, French, Dutch, and English Schools, Skinner and Dyke, London, March 27, 1795, no. 5, as Jupiter and Calista [3];

Goutt [4];

Gérard François Victor Hopilliard, Paris, by 1841 [5];

Purchased at his sale, Tableaux choisis offrant une variété de près de 200 maîtres, La plupart classique, et dont des Œuvres capitales, ensemble de 64 numéros de Écoles italiennes et espagnole; 91 des Écoles allemande, hollandaise et flamande, et 93 de l’École française; et d’Objets d’Art en matières précieuses, marbres, bronzes, ivoires, biscuits, terres cuites de Clodion, etc., Composant le Cabinet de M. G[outte] [sic], Ancien préposé principal du Trésor aux armées, Hôtel des Ventes, Rue des Jeûneurs, Paris, March 29–April 3, 1841, no. 196, as Jupiter sous les traits de Diane, semble consoler la nymphe Calisto égarée à la chasse, by Linzler, April 3, 1841 [6];

Possibly Henry Thomas Timson, Esq. (1768–1848), Tatchbury Mount, Totten, Hampshire, UK, no later than October 1848;

To his son, Reverend Edward Timson (1797–1873), Tatchbury Mount, Totten, Hampshire, UK, by 1848–February 27, 1873;

Inherited by his wife Margaret Angelina Timson (née Brown, ca. 1799–1879), Tatchbury Mount, Totten, Hampshire, UK, 1873– March 15, 1879 [7];

By descent to her son, Captain Henry Timson (1834–1906), Tatchbury Mount, Totten, Hampshire, UK, 1879–January 1906;

By descent to his son, Major Henry Thomas Timson (1869–1928), Stydd House, Lyndhurst, Hampshire, UK, 1906–no later than 1928 [8];

To his daughter, Hon. Mrs. Charles Douglas (née Florence Timson, 1897–1985), London, and Hatton Mains, Kirknewton, Midlothian, UK, by 1928–July 18, 1930 [9];

Purchased at her anonymous sale, The Scarsdale Heirlooms Under the Wills of the late Rt. Hon. Lord Scarsdale of Kedleston and the late the Most Hon. The marquess Curzon of Kedleston, K. G., now sold by the Rt. Hon. Viscount Scarsdale of Kedleston with the consent of the Court; also Pictures by Old Masters: The Properties of The late The Rt. Hon. The Earl of Balfour, K.G. O.M.; The late T. B. Bradshaw, Esq.; John Wetten Brassington, Esq.; The Rt. Hon. The Earl of Feversham; Gilfrid Hartley, Esq.; Lieut.-Colonel E. G. Troyte-Bullock, C.M.G.; George Wilbraham, Esq.; And from other Sources, Christie, Manson, and Woods, London, July 18, 1930, no. 61, as Jupiter and Calisto, by Howard Young Galleries, New York, July 18, 1930–April 15, 1932 [10];

Purchased from Howard Young Galleries, through Harold Woodbury Parsons, by The Nelson-Atkins Museum of Art, Kansas City, MO, 1932 [11].

Notes:

[1] Other variations of his name are Clene, Clesnes, Clesnne, Claine, Claye, Clesne. He is called “Le chevalier de Cene” by Edmond de Goncourt and Jules de Goncourt, L’Art du Dix-Huitième Siècle, 3rd ed. (Paris: A. Quantin, 1880), 1:189. He is called “Cènes” by L[ouis] Soullié and Ch. Masson, Catalogue Raisonné de l’Œuvre Peint et Dessiné de François Boucher, in André Michel, François Boucher (Paris: L’Édition d’Art, [1906]), 13. We defer here to the version given in the Getty Provenance Index.

[2] Jean-Baptiste-Pierre Le Brun (1748–1813) was a collector and leading dealer to the elite of the ancien régimeancien régime: The period in French history from about 1650 to 1789 (before the French Revolution). It was characterized by a divine-right absolute monarchy, a society based upon privileges for the rich and well-connected, and the Catholic Church as the religious establishment. The monarchy fell on August 10, 1792, after months of royal intransigence, and the Revolution entered a new more radical phase. King Louis XVI was executed in January 1793. from 1776 to 1789. It is unclear if Le Brun personally owned the Boucher or if it was part of his dealership’s stock. It is possible that Le Brun sold the painting to Charles Alexandre de Calonne, the finance minister for Louis XVI. In fact, Le Brun’s wife was the artist Elisabeth Louise Vigée Le Brun (1755–1842), who painted a portrait of Calonne (1784; Royal Collection Trust).

[3] According to the Getty Provenance Index, the painting was “sold or bought in” during this sale.

[4] On the copy of the 1841 sales catalogue held at the Getty Research Institute, Los Angeles, someone has added a handwritten identification of “M. G***” as “Goutte.” This is probably a misspelling of the “Goutt,” who was the former senior officer of the Treasury for the Armed Forces, as the sales catalogue specifies. Although no life dates have been found for Goutt, in 1824 he was petitioning the government of Charles X to pay him 50,000 francs in back compensation and salary for his service under Napoleon ten years before. See Le Constitutionnel (November 7, 1824), 2. He, or his family, was also living at 45 Neuve-Saint-Roch in 1841; see Annuaire Général du Commerce, Judiciaire, et Administratif de France te des Principales Villes du Monde (Paris: Firmin Didot Frères, 1840), 241. This address matches the one listed for him in the 1841 sales catalogue.

[5] According to the minutes of the 1841 sale, Hopilliard, who lived at no. 16, rue de Paradis-Poissonière, Paris, was the current owner. See “Vente de Curiosités et Tableaux, rue de Jeuneurs no. 16; Les 29, 30, et 31 mars et 1er, 2, et 3 avril 1841, Requête de Hopilliard 28,” “D48E3 35 BONNEFONS DE LAVIALLE Minutes et Dossiers 1808–1855,” Archives de Paris (thank you to Vincent Tuchais, Archives de Paris). It is unclear why Hopilliard’s collection was in a sale advertised as belonging to Goutt, although one theory is that Hopilliard was a dealer/auctioneer tasked with selling Goutt’s collection. In fact, a certain “Franҫois Hopilliard” is listed in the 1841 census of the Aisne region of France, where his occupation is commissaire-priseur (auctioneer). However, his residence is on “Suite de la Grande Rue, Sissonne” (not rue de Paradis-Poissonière, Paris). Two possibilities for this person are Jean Franҫois Antoine Hopilliard (b. ca. 1789, listed—32 years earlier—as a professional weaver in 1809), or his son, Gérard Victor Hypolite (b. 1813, Marchais, France). The cover page of the sale minutes says, “Hopilliard 28.” If 28 is his age, then Gérard Victor Hypolite would be the right fit.

[6] Thank you to Vincent Tuchais, Archives de Paris, who confirmed that Linzler purchased this Boucher for 110 francs and 50 centimes. Linzler also purchased the other Boucher at the sale (a landscape listed under no. 197).

[7] In his will, Reverend Edward Timson left his property, including art, to his wife, and after her death he stipulated that their son Henry would inherit the property. “Last Will and Testament Reverend Edward Timson, folder 5M62/13, p. 89,” Libraries and Archives, Hampshire County Council, UK.

[8] According to the 1930 Christie’s sales catalogue, the painting was acquired at “a country sale by a small dealer.” However, Florence Timson, the daughter of Major Henry Thomas Timson, consigned the painting to the 1930 Christie’s sale, and she is the direct descendant of the Edward Timson noted in the Christie’s catalogue as a prior owner of the painting. The “country sale” might have been the one of the family’s Tatchbury Mount estate and overseen by Major Henry Thomas Timson, where the painting was possibly bought-in: Appointments of the Mansion: Curtains, cork, carpets, mahogany, oak and painted bed room effects, gentlemen’s wardrobes, tallboy chest, bedsteads, couches, easy chairs, antique oak chairs, French salon chairs, cottage pianoforte, 18th-century mahogany secretaire bookcase, marqueterie tables, coffers, writing tables, imposing oak cabinet, few marble statuettes, mirrors, bracket and mantel clocks, Dutch brass jardiniere, screens, ornaments, books, a reflex camera, sextant, surveyor’s glasses, coachhorns, fishing tackle, quantity of copper utensils, unique collection of pictures by or attributed to: Richard Ansdell, R.A., R.P. Bonnington, E.C. Barnes, Geo, Cole, T. Sydney Cooper, R.A., E.W. Cooke, R.A., Geo, Chambers, T. Creswick, R.A., F.F. Dicksee, R. Etty, R.A., W.P. Frith, R.A., F. Goodall, R.A., J.H.L. De Haas, E. Long, R.A., D.M. Macclise, R.A., P.R. Morris, A.R.A., W.Q. Orchardson, R.A., L.J. Potts, W. Parrott, J. Pettie, A.R.A., P.F. Poole, R.A., Clarkson Stanfield, R.A., Geo. Stanfield, F. Stone, R.A., R.M. Ward, A.R.A., and other eminient artists of repute; several interesting coloured prints of coursing and hounds, Tatchbury Mount, Totton, Southhampton, Wilson, September 27–28, 1927. The sales catalogue has not survived. It is possible that the Boucher was listed for sale but was either purchased by Florence Timson or given to her by her father when it failed to sell.

[9] See email from Daniel Jarmai, archives researcher, Christie’s, to Glynnis Napier Stevenson, NAMA, October 20, 2021, NAMA curatorial files.

[10] The painting is listed as “From the Collection of Edward Timson, Esq., England” in the 1930 catalogue. Constituent’s name is also erroneously written as “Tinson.”

[11] According to Harold Woodbury Parsons, art advisor to the NAMA trustees in the 1930s, the painting was purchased in a knock-out sale, where a ring of dealers agrees to purchase the painting at a low price and later a single dealer, in this case Howard Young, buys out the shares of the others. See letter from Harold Woodbury Parsons to J. C. Nichols, February 4, 1931, NAMA curatorial files.

NAMA trustees were considering the purchase of the painting as early as January 1931; see correspondence from Harold Woodbury Parsons to Arthur Hyde, January 24, 1931, NAMA curatorial files.

relatedworks

François Boucher, Leda and the Swan, ca. 1741–42, oil on canvas, 23 7/16 x 29 in. (59.5 x 74 cm), Nationalmuseum, Stockholm, NM 771.

François Boucher, Jupiter and Callisto, 1744, oil on canvas, 38 9/16 x 28 5/16 in. (98 x 72 cm), Pushkin Museum of Fine Arts, Moscow, received from Yusupov Nikolay Borisovich, July 28, 1925.

Jean-Honoré Fragonard, Jupiter and Callisto, ca. 1755, oil on canvas, 18 1/8 x 21 7/8 in. (46 x 55.5 cm), sold at Collection Jacques et Henriette Schumann, Christie’s, September 29, 2003, lot 18, as Jupiter et Callisto.

Jean-Honoré Fragonard, Jupiter, in the Guise of Diana, Seducing Callisto, 1755, oil on canvas, 31 1/8 x 68 1/8 in. (79 x 173 cm), Musée des beaux-arts d’Angers, MBA J 792 (J1887)P.

François Boucher, Jupiter et Callisto or Jupiter in the shape of Diana, surprises Callisto, 1760, oil on oval canvas, 30 5/16 x 24 13/16 in. (77 x 63 cm), private collection.

François Boucher, Diane et Callisto, 18th century, sketch in gray monochrome on canvas, 33 x 24 13/16 in. (84 x 63 cm), private collection, reproduced in Alexandre Ananoff and Daniel Wildenstein, François Boucher (Lausanne: Bibliothèque des Arts, 1976), no. 535, p. 1:204.

François Boucher, Jupiter, in the Guise of Diana, and Callisto, 1763, oil on oval canvas, 25 1/2 x 21 5/8 in. (64.8 x 54.9 cm), Metropolitan Museum, New York, 1982.60.45.

François Boucher, Jupiter and Callisto, ca. 1766, oil on canvas, 56 x 45 in. (142.2 x 114.3 cm), North Carolina Museum of Art, Raleigh, NC, G.55.8.1.

François Boucher, Jupiter et Callisto, ca. 1767, oil on canvas, 51 x 48 13/16 in. (130 x 124 cm), location unknown, reproduced in Alexandre Ananoff and Daniel Wildenstein, François Boucher (Lausanne: Bibliothèque des Arts, 1976), no. 639, pp. 1:270–71.

School of François Boucher, Jupiter and Callisto, ca. 1767, oil on canvas, 115 3/4 x 92 1/8 in. (294 x 234 cm), Musée national du château de Fontainebleau, France, INV 2707; MR 1220.

François Boucher, Jupiter et Callisto, 1769, oil on canvas, 63 x 51 in. (160 x 130 cm), Wallace Collection, London, P446.

René Gaillard (ca. 1719–90), after François Boucher, Jupiter and Callisto, published 1760, etching with colophon, sheet: 15 7/16 x 18 15/16 in. (39.2 x 48.1 cm), Rijksmuseum, Amsterdam, RP-P-OB-43.468

René Gaillard (ca. 1719–90), after François Boucher, Jupiter and Callisto, published 1760, etching without colophon, sheet: 16 3/10 x 19 1/2 in. (41.4 x 49.7 cm), Musée du Louvre, Paris, 18595 LR/ Recto (see also another impression, 6046 LR/ Recto).

François Boucher, Girl with a Rose, 1740s, black and red chalk and pastel on brown paper, 8 7/8 x 7 1/8 in. (22.5 x 18.1 cm), The State Hermitage Museum, St. Petersburg, ОR-11416.

François Boucher, Cupid Holding a Tambourine and an Arrow Aloft, ca. 1750, red and white chalk, 15 3/4 x 10 1/4 in. (40 x 26 cm), The Nelson-Atkins Museum of Art, Kansas City, MO, 32-193/17.

François Boucher, Three Putti in the Clouds, ca. 1759, black, white, and red chalk on buff paper, 7 7/8 x 11 3/8 in. (20 x 28.7 cm), The Nelson-Atkins Museum of Art, Kansas City, MO, 83-27.

François Boucher, Studies of Female Arms, ca. 1759, red and white chalk, 7 3/8 x 9 11/16 in. (18.7 x 24.6 cm), sold at Important Old Master Drawings, Christie’s, London, November 26, 1974, no. 163.

Gilles Demarteau (Flemish, 1722–76), after François Boucher, Head of a Girl, engraving, style of pencil, impression in sanguine, sheet: 12 15/16 x 10 3/4 in. (32.8 x 27.2 cm), Collection Edmond de Rothschild, Musée du Louvre, Paris, 19264 LR/ Recto.

François Boucher, Jupiter and Calisto, 18th century, pastel, 23 3/4 x 29 in. (60.3 x 73.7 cm), Collection of Henry Talbot de Vere Clifton, London.

Unknown, after Gilles Demarteau (Flemish, 1722–76), after François Boucher, Jupiter and Callisto, 3rd quarter of 18th century, oil on canvas, 40 x 57 in. (101 x 145 cm), Hessisches Landesmuseum, Darmstadt, GK 1413.

Louis Vigée (1715–67), after Gilles Demarteau, after François Boucher, Jupiter and Callisto, 18th century, pastel on paper, 25 9/16 x 31 7/8 in. (65 x 81 cm), Musée des Beaux-Arts, Dijon, inv. DE 58.

Classics of the Nude: Loan Exhibition; Pollaiuolo to Picasso for the Benefit of the Lisa Day Nursery, M. Knoedler and Company, New York, April 10–29, 1939, no. 15, as Jupiter in the Guise of Diana, and Calisto.

Tenth Anniversary Exhibition, 1931–1941, Columbus Gallery of Fine Arts, Columbus, OH, January 14–February 18, 1941, no. 9, as Jupiter in the Guise of Diana, and Callisto.

Twenty Years of Collecting, The Nelson-Atkins Museum of Art, Kansas City, MO, December 11–31, 1953, no cat.

The Century of Mozart, The Nelson-Atkins Museum of Art, Kansas City, MO, January 15–March 4, 1956, no. 8, as Jupiter in the Guise of Diana and the Nymph Callisto.

Anatomy and Art, The Nelson-Atkins Museum of Art, Kansas City, MO, May 8–June 5, 1960, no. 94, as Jupiter in the Guise of Diana, and the Nymph Callisto.

1761: The Year Revisited; Diderot and the Salon des Beaux-Arts, Smith College Museum of Art, Northampton, MA, April 8–30, 1961, no. 1, as Jupiter in the Guise of Diana, and the Nymph Callisto.

The Romantic Era: Birth and Flowering, 1750–1850, Herron Museum of Art, Indianapolis, February 21–April 11, 1965, no. 1, as Jupiter in the Guise of Diana and the Nymph Callisto.

François Boucher: A Loan Exhibition For the Benefit of The New York Botanical Garden, Wildenstein, New York, November 12–December 19, 1980, no. 26, as Jupiter in the Guise of Diana and the Nymph Callisto.

François Boucher, Tokyo Metropolitan Art Museum, April 24–June 23, 1982; Kumamoto Prefectural Museum of Art, Kumamoto, Japan, July 3–August 22, 1982, no. 55, as Jupiter in the Guise of Diana and the Nymph Callisto.

François Boucher, Metropolitan Museum of Art, New York, February 17–May 4, 1986; Detroit Institute of Arts, May 27–August 17, 1986; Réunion des Musées Nationaux, Grand Palais, Paris, September 19, 1986–January 5, 1987, no. 70, as Jupiter in the Guise of Diana Seducing Callisto.

Les Amours des Dieux: La peinture mythologique de Watteau à David, Grand Palais, Paris, October 15, 1991–January 6, 1992; Philadelphia Museum of Art, February 23–April 26, 1992; Kimbell Art Museum, Fort Worth, TX, May 23–August 2, 1992, no. 49, as Jupiter, sous les traits de Diane, séduisant Callisto.

references

Catalogue d’une belle Collection de Tableaux et d’Estampes, et de belles Porcelaines, provenant de la succession de M. de Montblin, Conseiller au Parlement (Paris: Le Noir, February 25–26, 1777), 2, as Jupiter, sous la figure de Diane, surprend Calisto.

A[lexandre] J[oseph] Paillet, Catalogue de Tableaux Précieux des Trois Écoles, Pastels, Miniatures, Émaux, Dessins montés et en feuilles, Terres cuites, Vases de marbre et Porcelaines rares, Objets d’Histoire naturelle, Agates orientales, Laques, Meubles précieux et autres Objets de Curiosité, Estampes en feuilles, etc, Le tout provenant du Cabinet de M. le Chevalier de C[lesle] (Paris: Hôtel de Bullion, December 4, 1786), 50, as Jupiter métamorphosé sous la figure de Diane, séduisant la nimphe [sic] Callisto.

A Catalogue of All That Noble and Superlatively Capital Assemblage of Valuable Pictures, Drawings, Miniatures, and Prints, the Property of the Right Hon. Charles Alexander De Calonne, Late Prime Minister of France, Selected with Equal Taste, Judgment, and Liberality, During his Residence in France, and his Travel through Italy, Germany, Flanders, and Holland, and while in England, at the Immense Expence of Above Sixty Thousand Guineas, There Is Also Included A Small Elegant Collection of Cabinet Pictures, Bequeathed to Him by the Late Monsieur d’Arveley, High Treasurer of France; Forming together the most splendid Collection in Europe, which were intended for a magnificent Gallery at his late House in Piccadilly Comprising The Inestimable Works of the most admired Masters of the Roman, Florentine, Bolognese, Venetian, Spanish, French, Dutch, and English Schools (London: Skinner and Dyke, March 27, 1795), 22, as Jupiter and Calista.

M[ichael] Huber and C. C. H. Rost, Manuel des curieux et des amateurs de l’art (Zurich: Orell, Fusli, et Compagnie, 1804), 8:181.

Catalogue de Tableaux choisis offrant une variété de près de 200 maîtres, La plupart classique, et dont des Œuvres capitales, ensemble de 64 numéros de Écoles italiennes et espagnole; 91 des Écoles allemande, hollandaise et flamande, et 93 de l’École française; et d’Objets d’Art en matières précieuses, marbres, bronzes, ivoires, biscuits, terres cuites de Clodion, etc., Composant le Cabinet de M. G[outte], Ancien préposé principal du Trésor aux armées (Paris: Maude et Renou, March 29–April 3, 1841), 48, Jupiter sous les traits de Diane, semble consoler la nymphe Calisto égarée à la chasse.

Edmond and Jules de Goncourt, L’art du dix-huitième siècle, 3rd ed. (Paris: A. Quantin, 1880), 1:189–90, as Jupiter et Calisto.

Baron Roger Portalis and Henri Béraldi, Les graveurs du dix-huitième siècle (Paris: Damascène Morgand et Charles Fatout, 1881), 2:223.

Le Bulletin des beaux-arts: Répertoire des Artistes Français (Paris: Fabré, 1884-85), 21, as Jupiter et Calisto.

André Michel, François Boucher (Paris: Librairie de l’Art, 1889), 106n2, as Jupiter et Calisto.

Gustave Bourcard, Dessins, gouaches, estampes, et tableaux du dix-huitième siècle; guide de l’amateur (Paris: D. Morgand, 1893), 83, as Jupiter et Calisto.

Gustave Macon, Les arts dans la maison de Condé (Paris, Librairie de l’Art ancien et moderne, 1903), 129n1, as Jupiter et Calisto.

Henry Coutant, Le Palais-Bourbon au XVIIIe siècle (Paris: H. Daragon, 1905), 88–89n1, as Jupiter et Callisto.

Gustave Kahn, Boucher: Biographie critique, illustrée de 24 reproductions hors texte (Paris: H. Laurens, 1905), 99n1, as Jupiter et Callisto.

L[ouis] Soullié and Ch. Masson, Catalogue Raisonné de l’Œuvre Peint et Dessiné de François Boucher, in André Michel, François Boucher (Paris: L’Édition d’Art, [1906]), no. 180, pp. 13, 176–77, as Jupiter et Callisto.

Georges Pannier, Catalogue des Œuvres Peintes de François Boucher qui ont passé en Vente Publique Depuis 1770 jusqu’en 1906, in Pierre de Nolhac, François Boucher: Premier Peintre du Roi, 1703–1770, 1st ed. (Paris: Goupil et Cie, 1907), 116, as Jupiter et Calisto.

Haldane MacFall, Boucher: The Man, His Times, His Art, and His Significance, 1703–1770 (London: Connoisseur, Carmelite House, E. C., 1908), 65, 150, 152, as Jupiter and Calisto.

Christie’s London Art Sales Index (London: Christie, Manson, and Woods, 1910), 1:217, as Jupiter and Calisto.

Algernon Graves, Art Sales From Early in the Eighteenth Century to Early in the Twentieth Century (Mostly Old Master and Early English Pictures) (1918; repr. New York: Burt Franklin, 1970), 1:58, as Jupiter and Calista [sic].

Maurice Fenaille, François Boucher (Paris: Éditions Nilsson, 1925), 110.

Catalogue of The Scarsdale Heirlooms Under the Wills of the late Rt. Hon. Lord Scarsdale of Kedleston and the late the Most Hon. The Marquess Curzon of Kedleston, K. G., now sold by the Rt. Hon. Viscount Scarsdale of Kedleston with the consent of the Court; Also Pictures by Old Masters: The Properties of The late The Rt. Hon. the Earl of Balfour, K.G. O. M.; The late T. B. Bradshaw, Esq.; John Wetten Brassington, Esq.; The Rt. Hon. the Earl of Feversham; Gilfrid Hartley, Esq.; Lieut.-Colonel E. G. Troyte-Bullock, C.M.G.; George Wilbraham, Esq.; And from other Sources (London: Christie, Manson and Woods, July 18, 1930), 16–17, (repro.), as Jupiter and Calisto.

“The Sale Room: High Prices for Old Masters,” Times (London), no. 45,569 (July 19, 1930): 15, as Jupiter and Calisto.

“A Big Gallery Addition: Rembrandt and Hals Paintings to Nelson Group,” Kansas City Star 51, no. 148 (February 12, 1931): 3.

A.C.R. Carter, ed., The Year’s Art: a concise epitome of all matters relating to the arts of painting, sculpture, engraving and architecture, and to schools of design, which have occurred during the year (London: Hutchinson, 1931), 52:234, 254, as Jupiter wooing Calisto and Jupiter and Calisto.

“Jupiter (in the Form of Diana) and Calisto,” Art News 30, no. 32 (May 7, 1932): 12, (repro.), as Jupiter (in the Form of Diana) and Calisto.

“Art,” Kansas City Star 52, no. 234 (May 8, 1932): 16A, as Jupiter in the Guise of Diana and Calisto.

“Boucher Acquired for Kansas City,” New York Times 81, no. 27,135 (May 10, 1932): 19, as Jupiter, in the Form of Diana, and Calisto.

“Art News,” Kansas City Journal-Post 78, no. 343 (May 15, 1932): 2-C, (repro.), as Jupiter in the Guise of Diana With Callisto.

“Kansas City gets typical work by Boncher [sic],” Art Digest 6 (May 15, 1932): 13, (repro.), as Jupiter, in the Form of Diana, and Calisto.

M[inna] K. P[owell], “Art: Art Paid Its Chief Homage to Beautiful Women in Eighteenth Century France, Paul Gardner Tells Audience in Epperson Hall—‘To Please, One Must Be of His Time,’” Kansas City Times 93, no. 119 (May 18, 1932): 11.

Pantheon der Cicerone 5, no. 7 (July 1932): 237, (repro.), as Jupiter (in Gestalt der Diana) und Callisto.

“American Art Notes: New Nelson Gallery of Art,” Connoisseur and International Studio 92, no. 388 (December 1933): 419.

Thomas Carr Howe, “Kansas City Has Fine Art Museum: Nelson Gallery Ranks with the Best,” [unknown newspaper] (ca. December 1933), clipping, scrapbook, NAMA Archives, vol. 5, p. 6.

Pierre Domène, “La Vie des Musées: Le nouveau musée de Kansas City,” Beaux-Arts 72, no. 48 (December 1, 1933): 2.

“Nelson Gallery of Art Special Number,” Art Digest 8, no. 5 (December 1, 1933): 13, 21, 23, (repro.), as Jupiter, in the Guise of Diana, and Calisto.

“The William Rockhill Nelson Gallery of Art, Kansas City Special Number,” Art News 32, no. 10 (December 9, 1933): 28, 30, 51, (repro.), as Jupiter in the Guise of Diana and Calisto, and Jupiter (in the Form of Diana) and Calisto.

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,” Kansas City Star 54, no. 84 (December 10, 1933): 4C, as Jupiter in Guise of Diana and Calisto.

“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, (repro.), as Jupiter (in the form of Diana) and Callisto.

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, no. 187 (December 11, 1933): 7.

“Kansas City’s New Museum,” New York Sun 101, no. 86 (December 12, 1933): 28.

[Paul V. Beckley], “Art News,” Kansas City Journal-Post, no. 193 (December 17, 1933): 2C, as Jupiter in the Guise of Diana and Calisto.

“Praises the Gallery: Dr. Nelson M’Cleary, Noted Artist, a Visitor,” Kansas City Star 54, no. 98 (December 24, 1933): 9A, as Diana and Calisto.

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, 45, 136, (repro.), as Jupiter in the Guise of Diana and Calisto.

“Museums, Art Associations, and Other Organizations,” in “For the Year 1933,” American Art Annual 30 (1934): 175, as Jupiter and Calisto.

A. J. Philpott, “Kansas City Now in Art Center Class: Nelson Gallery, Just Opened, Contains Remarkable Collection of Paintings, Both Foreign and American,” Boston Sunday Globe 125, no. 14 (January 14, 1934): 16.

M[inna] K. P[owell], “In Gallery and Studio,” Kansas City Star 54, no. 125 (January 20, 1934): 5.

“A Thrill to Art Expert: M. Jamot is Generous in his Praise of Nelson Gallery,” Kansas City Times 97, no. 247 (October 15, 1934): 7.

Sheldon Cheney, A World History of Art (New York: Viking Press, 1937), 751, (repro.), as Jupiter in the Guise of Diana, and Calisto.

“Art: French 18th Century Paintings in America,” Life Magazine 5, no. 13, (September 26, 1938): 36, (repro.), as Jupiter, in the guise of Diana, and Callisto.

Classics of the Nude: Loan Exhibition; Pollaiuolo to Picasso for the Benefit of the Lisa Day Nursery, exh. cat. (New York: M. Knoedler, 1939), 18, (repro.), as Jupiter in the Guise of Diana, and Calisto.

Edward Alden Jewell, “Art Show Offers ‘Classics of Nude’: Wide Selection at Knoedler Galleries Covers a Span of Five Centuries; Display Loan Collection: Works Range From Pollaiuolo to Picasso—Exhibition Aids Liza Day Nursery,” New York Times 88, no. 29,662 (April 11, 1939): L18, as Jupiter in the Guise of Diana, and Calisto.

Edward Alden Jewell, “In the Realm of Art: Exhibitions and Other Events; Human Figure in Variety: From Pollaiuolo to Picasso the Loan Exhibition at Knoedler’s Extends,” New York Times 88, no. 29,667 (April 16, 1939): 9X, as Jupiter in the Guise of Diana, and Calisto.

James W. Lane, “Notes from New York,” Apollo 29, no. 174 (June 1, 1939): 298, as Jupiter in the Guise of Diana, and Calisto.

Tenth Anniversary Exhibition, 1931–1941, exh. cat. (Columbus, OH: Columbus Gallery of Fine Arts, 1941), 20–21, (repro.), as Jupiter in the Guise of Diana, and Callisto.

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), 40, 47, 167, (repro.), as Jupiter, in the Guise of Diana, and Calisto.

Regina Shoolman and Charles E. Slatkin, The Enjoyment of Art in America: A Survey of the Permanent Collections of Painting, Sculpture, Ceramics and Decorative Arts in American and Canadian Museums; being an introduction to the masterpieces of art from prehistoric to modern times (Philadelphia: Lippincott, 1942), unpaginated, (repro.), as Jupiter in the Guise of Diana; and Calisto.

Aimée Crane, ed., A Gallery of Great Paintings (New York: Crown Publishers, 1944), 31, (repro.), as Jupiter in the Guise of Diana and Calisto.

Charles H. Hogan, Col. Nelson’s Artistic Boneyard: Kansas City’s Road Show Edition of the Louvre (Girard, KS: Haldeman-Julius, 1946), 13, as Jupiter in the Guise of Diana, and Callisto.

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), 61, as Jupiter in the Guise of Diana and the Nymph Calisto.

“Advance Guard: La Belle France,” Masterpieces: the Home Collection of Great Art 1 (1950): 104–06, (repro.), as Jupiter in the Guise of Diana and the Nymph Callisto.

Winifred Shields, “The Twenty Best, a Special Exhibition at Nelson Gallery: Anniversary Will be Observed by Showing of Paintings, Some Acquired Recently, Others Even Before the Institution Opened Two Decades Ago; Begins Next Friday,” Kansas City Star 74, no. 78 (December 4, 1953): 36, as Jupiter in the Guise of Diana and the Nymph Callisto.

“The Century of Mozart: January 15 through March 4, 1956,” Bulletin (The Nelson Gallery and Atkins Museum), exh. cat., 1, no. 1 (January 1956): 25, as Jupiter in the Guise of Diana and the Nymph Callisto.

“Life in the Century of Mozart Is Revealed in New Exhibition at Nelson Gallery,” Kansas City Star 76, no. 120 (January 15, 1956): E[1], as Jupiter in the Guise of Diana and the Nymph Callisto.

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), 111–12, 260, (repro.), as Jupiter in the Guise of Diana, and the Nymph Callisto.

“Treasures of Kansas City,” Connoisseur 145, no. 584 (April 1960): 123, as Jupiter in the Guise of Diana and the Nymph Callisto.

“Anatomy and Art: May 8–June 5, 1960,” Bulletin (The Nelson Gallery and Atkins Museum), exh. cat., 3, no. 1 (1960): 28, as Jupiter in the Guise of Diana, and the Nymph Callisto.

David C[arew] Huntington, 1761: The Year Revisited; Diderot and the Salon des Beaux-Arts, exh. cat. (Northampton, MA: Smith College Museum of Art, 1961), 5, as Jupiter in the Guise of Diana, and the Nymph Callisto.

Possibly Erma Young, “French Designer is Style Festival Focus,” Kansas City Times 97, no. 43 (October 27, 1964): 8.

The Romantic Era: Birth and Flowering, 1750–1850, exh. cat. (Indianapolis: Art Association of Indianapolis, Herron Museum of Art, 1965), unpaginated, (repro.), as Jupiter in the guise of Diana and the nymph Callisto.

Erwin Ottomar Christensen, A Guide to Art Museums in the United States (New York: Dodd, Mead, 1968), 210, (repro.), as Jupiter, in the Guise of Diana, and Calisto.

Ralph T. Coe, “The Baroque and Rococo in France and Italy,” Apollo 96, no. 130 (December 1972): 537–38, (repro.) [repr., in Denys Sutton, ed., William Rockhill Nelson Gallery, Atkins Museum of Fine Arts, Kansas City (London: Apollo Magazine, 1972), 69–70, (repro.)], as Jupiter in the guise of Diana and the nymph Callisto.

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), 135, 257, (repro.), as Jupiter in the Guise of Diana, and the Nymph Callisto.

Alexandre Ananoff and Daniel Wildenstein, François Boucher (Lausanne: Bibliothèque des Arts, 1976), 2: no. 518, pp. 188–90, (repro.), as Diane et Callisto.

Pierrette Jean-Richard, L’Œuvre gravé de François Boucher dans la Collection Edmond de Rothschild (Paris: Éditions des Musées Nationaux, 1978), 198, 265, as Jupiter et Callisto.

Marietta Dunn, “Master Paintings Added to Gallery,” Kansas City Star 99, no. 180 (April 15, 1979): [1]E.

Alexandre Ananoff and Daniel Wildenstein, L’opera completa di Boucher (Milan: Rizzoli Editore, 1980), no. 546, pp. 129–30, as Diana e Callisto.

François Boucher: A Loan Exhibition For the Benefit of The New York Botanical Garden, exh. cat. (New York: Wildenstein, 1980), 42, (repro.), Jupiter in the Guise of Diana and the Nymph Callisto.

Denys Sutton, François Boucher, exh. cat. (Tokyo: Tokyo Metropolitan Art Museum, 1982), 88, 179, 239, (repro.), as Jupiter in the Guise of Diana and the Nymph Callisto.

Bill Marvel, “How good is the Nelson?” STAR Magazine, supplement, Kansas City Star 103, no. 186 (April 24, 1983): S23, as Jupiter in the Guise of Diana, and the Nymph Callisto.

Donald Hoffmann, “Two 18th-century French works to grace Nelson Gallery,” Kansas City Star 103, no. 250 (July 10, 1983): 11F.

John Russell, “Art View: A Panoramic View of A French Master of Still Lifes,” New York Times 132, no. 45,756 (July 31, 1983): H25.

Donald Hoffmann, “Art Journal: More about Oudry,” Kansas City Star 103, no. 292 (August 28, 1983): 8E.

Roger Ward, “A drawing for Boucher’s ‛Jupiter and Callisto’ at Kansas City,” Burlington Magazine 125, no. 969 (December 1983): 753–54, (repro.), as Jupiter in the guise of Diana and the nymph Callisto.

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, as Jupiter in the Guise of Diana and the Nymph Callisto.

A Fine Private Collection of Pictures, Watercolours, Prints, Furniture, Clocks, European and Asiatic Porcelain, Sculpture and Works of Art (Amsterdam: Christie’s Amsterdam B.V., September 12–13, 1985), 23.

“Old Master Drawings and Watercolors,” Calendar of Events (The Nelson-Atkins Museum of Art) (June 1986): 6, as Jupiter in the Guise of Diana, and the Nymph Callisto.

François Boucher: 1703–1770, exh. cat. (New York: Metropolitan Museum of Art, 1986), 32, 283–85, as Jupiter in the Guise of Diana Seducing Callisto.

“Glenn O’Brien’s Beat,” Interview (January 1986): 133, (repro.), as Jupiter in the Guise of Diana Seducing Callisto.

Dan Hofstadter, “François Boucher: he summed up the lives of aristocrats,” Smithsonian 16, no. 12 (March 1986): 100, (repro.), as Jupiter in the Guise of Diana Seducing Callisto.

Carter Ratcliff, “François Boucher, Absolutist Painter,” Art in America 74, no. 7 (July 1986): 96–97, (repro.), as Jupiter in the Guise of Diana Seducing Callisto.

Pierre Cabanne, “Les Expositions,” Elle, no. 2126 (October 6, 1986): 31, (repro.), as Jupiter, sous les traits de Diane, séduisant Callisto.

Roger Ward, ed., A Bountiful Decade: Selected Acquisitions, 1977–1987, exh. cat. (Kansas City, MO: Nelson-Atkins Museum of Art, 1987), 230, as Jupiter, in the guise of Diana, seducing Callisto.

Ellen R. Goheen, The Collections of the Nelson-Atkins Museum of Art (New York: Harry N. Abrams, 1988), 12.

Bruce Cole and Adelheid M. Gealt, Art of the Western World: From Ancient Greece to Post-Modernism (New York: Summit Books, 1989), 197–99, (repro.), as Jupiter in the Guise of Diana Seducing Callisto.

Eunice Lipton, “Women, pleasure and painting, e.g., Boucher,” Genders, no. 7 (March 1990): 76–77, (repro.), as Jupiter in the Guise of Diana Seducing Callisto.

Erica Rand, “Depoliticizing Women: Female Agency, the French Revolution, and the Art of Boucher and David,” Genders, no. 7 (March 1990): 50–51, (repro.), as Jupiter in the Guise of Diana Seducing Callisto.

William T Squires, Art, Experience, and Criticism (Needham Heights, MA: Ginn Press, 1991), 31, (repro.), as Jupiter in the Guise of Diana and the Nymph Callisto.

Colin B. Bailey, The Loves of the Gods: Mythological Painting from Watteau to David (New York: Rizzoli, 1992), 68–69, 71n36, 71n41, 416–20, (repro.), as Jupiter in the Guise of Diana Seducing Callisto.

Charles McCorquodale, “Les Amours des Dieux,” Apollo 135, no. 360 (February 1992): 129, (repro.), as Jupiter, sous les traits de Diane, séduisant Callisto.

Tableaux Anciens (Paris: Ader Tajan, June 27, 1992), unpaginated.

Christopher Wright, The World’s Master Paintings From the Early Renaissance to the Present Day (London: Routledge, 1992), 1:433, 2:122, as Jupiter in the guise of Diana and the nymph Callisto.

Alice Thorson, “The Nelson celebrates its 60th; Museum built its reputation, collection virtually ‘from scratch,’” Kansas City Star (July 18, 1993): J1.

Michael Churchman and Scott Erbes, High Ideals and Aspirations: The Nelson-Atkins Museum of Art, 1933–1993 (Kansas City, MO: Nelson-Atkins Museum of Art, 1993), 80n15.

Roger Ward and Patricia J. Fidler, eds., The Nelson-Atkins Museum of Art: A Handbook of the Collection (New York: Hudson Hills Press, in association with Nelson-Atkins Museum of Art, 1993), 190, (repro.), as Jupiter in the Guise of Diana and the Nymph Callisto.

Kristie C. Wolferman, The Nelson-Atkins Museum of Art: Culture Comes to Kansas City (Columbia: University of Missouri Press, 1993), 106, 134, as Jupiter in the Guise of Diana, and the Nymph Callisto.

Erica Rand, “Lesbian Sightings: Scoping for Dykes in Boucher and Cosmo,” Journal of Homosexuality 27, no. 1/2 (1994): 130–31, (repro.), as Jupiter in the Guise of Diana and the Nymph Callisto.

Svetlana Alpers, The Making of Rubens (New Haven: Yale University Press, 1995), 90, (repro.), as Jupiter and Callisto.

Charissa Bremer-David, French Tapestries and Textiles in the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 1997), 66, 69n18.

“New at the Nelson: Summer Shows Highlight Drawings, Furniture,” Newsletter (The Nelson-Atkins Museum of Art) (Summer 1998): 2, as Jupiter in the Guise of Diana Seducing Callisto.

Bill Blankenship, “Drawings from Within,” Topeka Capital-Journal (July 12, 1998): D[1], as Jupiter in the Guise of Diana Seducing Callisto.

Old Master Paintings (London: Sotheby’s, July 9, 1998), 288.

David Beaurain, “Louis Vigée (1715–1767) maître-peintre de l’Académie de Saint-Luc,” Bulletin de la Société de l’histoire de Paris et de l’Île-de-France 130 (2003): 131, as Jupiter, sous les traits de Diane, séduisant Callisto.

Alastair Laing, The Drawings of François Boucher, exh. cat. (New York: American Federation of Arts, 2003), 237n3, as Jupiter and Callisto.

Les Éléments et les Métamorphoses de la Nature: Imaginaire et Symbolique des Arts dans la Culture Européenne du XVIe au XVIIIe Siècle: Actes du colloque international de l’Opéra de Bordeaux (17–21 septembre 1997) (Bordeaux: William Blake and Art and Arts, 2004), 4:309–23, (repro.), as Jupiter, sous les traits de Diane, séduisant Callisto.

Wolfgang Steiner, Hinterglas und Kupferstich: 100 bisher unveröffentlichte Hinterglasgemälde und ihre Vorlagen aus drei Jahrhunderten (1550-1850) (Munich: Hirmer, 2004), 154, 260.

Norma Broude and Mary D. Garrard, eds., Reclaiming Female Agency: Feminist Art History After Postmodernism (Berkeley: University of California Press, 2005), 146, (repro.), as Jupiter in the Guise of Diana and the Nymph Callisto.

“Vibrant Galleries Offer Fresh View of European Art,” Member Magazine (The Nelson-Atkins Museum of Art) (Fall 2006): 1, 4, (repro.).

Robert Aldrich, ed., Gay Life and Culture: A World History (New York: Universe, 2006), 124–25, (repro.).

Jacques Bonnet, Femmes au bain: du voyeurisme dans la peinture occidentale (Paris: Éditions Hazan, 2006), 76–77, (repro.), as Jupiter et Callisto.

Melissa Hyde, Making Up the Rococo: François Boucher and His Critics (Los Angeles: Getty Research Institute, 2006), 42, 205, 207, 213, 217, (repro.), as Jupiter and Callisto.

Neil Jeffares, Dictionary of Pastelists: lists before 1800 (London: Unicorn Press, 2006), 72.

Marianthe Colakis and Mary Joan Masello, Classical Mythology and More: A Reader Workbook (Wauconda, IL: Bolchazy-Carducci, 2007), 93, (repro.), as Diana and the Nymph Callisto.

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), 102, as Jupiter in the Guise of Diana and the Nymph Callisto.

Christopher Bedford, “High Fidelity?: Deception and seduction, word and image in Boucher’s Jupiter in the Guise of Diana Seducing Callisto,” Word and Image 27, no. 1 (January–March 2011): 47–64, as Jupiter in the Guise of Diana Seducing Callisto.

Barbara Buhler Lynes and Jonathan Weinberg, eds., Shared Intelligence: American Painting and the Photograph, exh. cat. (Berkeley, CA: University of California Press, 2011), 117, as Jupiter in the Guise of Diana and the Nymph Callisto.

Alice Thorson, “Nelson-Atkins reaches out with ‘Here and Queer,’” Kansas City Star (July 12, 2013): as Jupiter in the Guise of Diana and the Nymph Callisto.

“Art’s Many Orientations: ‘Here and Queer!’ among new self-guided tours,” Kansas City Star, no. 300 (July 14, 2013): D2, (repro.), as Jupiter in the Guise of Diana and the Nymph Callisto.

Françoise Frontisi-Ducroux, Yves Bonnefoy, and Jérome Delaplanche, Le Désir et les Dieux (Paris: Flammarion, 2014), 130, 134–35, 252, (repro.), as Jupiter, sous les traits de Diane, séduit Callisto.

Helen Langa and Paula Wisotzki, eds., American Women Artists, 1935–1970: Gender, Culture, and Politics (Farnham, UK: Ashgate, 2016), 99–100, 106n20, as Jupiter in the Guise of Diana, and the Nymph Callisto.

M. Melissa Wolfe, Sarah Burns, and Robert Cozzolino, Subversion and Surrealism in the Art of Honoré Sharrer, exh. cat. (New Haven, CT: Yale University Press, 2017), 43, 49n27, 55–56, as Jupiter in the Guise of Diana and the Nymph Callisto.

Chloe Wyma, “Critics’ Picks: Honoré Sharrer, Columbus Museum of Art,” Artforum (2017): https://www.artforum.com/picks/honore-sharrer-68269.

Sarah Rose Sharp, “Discovering Honoré Sharrer, an Eclipsed 20th-Century Surrealist Painter,” Hyperallergic (April 24, 2017): https://hyperallergic.com/371227/discovering-honore-sharrer-an-eclipsed-20th-century-surrealist-painter/, as Jupiter in the Guise of Diana, and the Nymph Callisto.

Cecilia Treves, “Written in the Stars: Sebastiano Ricci’s ‘Arcas and Callisto,’” London: Sotheby’s blog (June 27, 2019): https://www.sothebys.com/en/articles/written-in-the-stars-sebastiano-riccis-arcas-and-callisto, (repro.), as Jupiter and Callisto.

Katherine Baetjer, French Paintings in The Metropolitan Museum of Art from the Early Eighteenth Century through the Revolution (New York: Metropolitan Museum of Art, 2019), 160–61n3.

Bernd Pappe, Galante Miniaturen: die Sammlung Dr. Löer im Neuen Schloss Bayreuth, exh. cat. (Bayreuth, Germany: Bayerische Schlösserverwaltung, 2019), 26, (repro.), as Jupiter und Callisto.

Astrid Reuter, ed., François Boucher: Künstler des Rokoko (Cologne: Wienand, 2020), 194.

Kristie C. Wolferman, The Nelson-Atkins Museum of Art: A History (Columbia, MO: University of Missouri Press, 2020), 108, 117, 132, as Jupiter in the Guise of Diana and the Nymph Callisto.