Julius Kaplan, entry on "Société Libre des Beaux Arts," The Grove Dictionary of Art: From Renaissance to Impressionism (St. Martin's Press, 2000), p. 343 online; Arto, Aperçus historiques, "La Société Libre des Beaux-Arts," retrievedArchived 17 December 2009 at the Wayback Machine 25 July 2010.
Julius Kaplan, entry on "Société Libre des Beaux Arts," The Grove Dictionary of Art: From Renaissance to Impressionism (St. Martin's Press, 2000), p. 343 online; Arto, Aperçus historiques, "La Société Libre des Beaux-Arts," retrievedArchived 17 December 2009 at the Wayback Machine 25 July 2010.
The Rodin-Web, in cooperation with the Musée Rodin, Rodin Nude Photo Project, "Rodin Works: The Age of Bronze (The Conquered One, The Vanquished), retrieved 23 July 2010; Catherine Lampert, Rodin: Sculpture and Drawings (Yale University Press, 1987), p. 22 online. Lampert describes Bouré's efforts as "letters of support." The other Belgian sculptor was Gustave Biot.
Clovis Lamarre, La Belgique et l'Exposition de 1878 (Paris, 1878), p. 192 online; Marchal, p. 696.
Après trente ans de séparation, la mort les réunit sous la même pierre. … il est frappé dans la maturité de l'âge, as expressed by L. (Lemonnier), "Correspondance de Belgique," La Chronique des arts et de la curiosité (Paris, 1883), p. 128 online.
Jules Dujardin, L'art flamand: Les artistes contemporains (Brussels, 1900), p. 2 online.
Louis Gonse, Exposition universelle de 1878: Les Beaux-arts et les arts décoratifs (Paris, 1879), vol. 1, p. 71 online; review of the same exposition, William W. Story, Reports of the United States Commissioners to the Paris Universal Exhibition of 1878 (Washington, D.C., 1880), vol. 2, p. 147 online.
Marchal, p. 697; Carl Buls, "Le salon de Gand," Revue de belgique 18 (1874), p. 67 online.
Ernest Duvergier de Hauranne, "Le Salon de 1874," Revue des deux mondes 3 (1874), p. 694 online.
Based on depictions of Eros and Dionysus with a lizard, some scholars have suggested that the Apollo type preserved by the Louvre example would've been armed with a sort of lariat or noose instead of or in addition to a dart; discussion in Jean Sorabella, "Eros and the Lizard: Children, Animals, and Roman Funerary Sculpture," Constructions of Childhood in Ancient Greece and Italy (American School of Classical Studies at Athens, 2007), pp. 353ff. online.
Albert Elsen, Rodin's Art: the Rodin Collection of the Iris & B. Gerald Cantor Center for Visual Arts, Stanford University (Oxford University Press, 2003), p. 509 with image online.
E. Warmenbol, "La statue de Boduognat à Anvers (1861–1954): Portrait d'une autre Gaule," in Belgian Archaeology in a European Setting II (Leuven University Press, 2001), p. 59 online; L. (Lemonnier), "Correspondance," p. 128.
Pol Meirsschaut, Les sculptures de plein air à Bruxelles: Guide explicatif (Brussels, 1900), pp. 49 and 52 online.
L. (Lemmonier), "Correspondance," La Chronique des arts, p. 128; Wauters, pp. 11 and 95. Limange earned a place in the medical literature of the mid-19th century for his technique of rectal examination involving iodine; see A.A. Boinet, Iodothérapie ou De l'emploi médico-chirurgical de l'iode et de ses composés (Paris, 1855), p. 607 online; Virginia Medical and Surgical Journal 3 (1854), p. 525 online; and Nelson's American Lancet 10 (1854), p. 182 online. His work on tumors was reported in the Annales de la Société de médecine d'Anvers 2 (1850), pp. 90–91 online and cited by the Brooklyn Medical Journal 18 (1904), p. 374. He published in the Archives belges de médecine militaire and other journals. He is probably the Adolphe Limange who was an army doctor in Brussels during the Belgian war of independence, and who was wounded while treating casualties under fire during an attack on the Antwerp arsenal in October 1830; see Pasinomie: collection des lois, décrets, arrêtés et règlements généraux for the year 1835 (Brussels, 1860), vol. 16, p. 178 online.
ebru.be
"À la découverte de l'historie d'Ixelles," p. 17; "Rue Félix Bovie (Félix Boviestraat) – Ixelles (1050 Bruxelles)," ebru. When it was opened in 1860, during Bouré's lifetime, the street was called rue de la Santé.
fine-arts-museum.be
Description of Le Lézard, Fabritius Catalogue of the Musées Royaux des Beaux-Arts de Belgique; the image may be viewed online.
"À la découverte de l'historie d'Ixelles," p. 17; "Rue Félix Bovie (Félix Boviestraat) – Ixelles (1050 Bruxelles)," ebru. When it was opened in 1860, during Bouré's lifetime, the street was called rue de la Santé.
The Rodin-Web, in cooperation with the Musée Rodin, Rodin Nude Photo Project, "Rodin Works: The Age of Bronze (The Conquered One, The Vanquished), retrieved 23 July 2010; Catherine Lampert, Rodin: Sculpture and Drawings (Yale University Press, 1987), p. 22 online. Lampert describes Bouré's efforts as "letters of support." The other Belgian sculptor was Gustave Biot.
Anne-Marie ten Bokum, Art&fact: Revue des historiens de l'art, des archéologues, des musicologues et des orientalistes de l'Université de Liège 24 (2005), retrievedArchived 6 July 2011 at the Wayback Machine 25 July 2010.
web.archive.org
Anne-Marie ten Bokum, Art&fact: Revue des historiens de l'art, des archéologues, des musicologues et des orientalistes de l'Université de Liège 24 (2005), retrievedArchived 6 July 2011 at the Wayback Machine 25 July 2010.
Julius Kaplan, entry on "Société Libre des Beaux Arts," The Grove Dictionary of Art: From Renaissance to Impressionism (St. Martin's Press, 2000), p. 343 online; Arto, Aperçus historiques, "La Société Libre des Beaux-Arts," retrievedArchived 17 December 2009 at the Wayback Machine 25 July 2010.
According to the information sign at the dam and most other sources. Its height is sometimes given as 43 feet in Anglophone sources; see for instance General Commissariat of Belgium, Belgium, Its Institutions, Industries and Commerce (Brussels, 1904), p. 333.
