Charles Clément. "Catalogue de l'œuvre de Gericault—Peinture." Gazette des beaux-arts 23 (September 1867), p. 275, no. 15, lists it under the heading "Peintures (1810 à 1812), calls it "Portrait d'un jeune garçon assis dans la campagne," and states that it was sold at the Delacroix sale of 1864.
Charles Clément. Géricault, étude biographique et critique avec le catalogue raisonné de l'œuvre du maitre. 3rd ed. [1st ed. 1867]. Paris, 1879 [reprinted in Lorenz Eitner, "Charles Clément: Gericault," New York, 1974, pp. 280, 447, no. 14].
Exposition d'œuvres de Gericault. Exh. cat., Hôtel Jean Charpentier. Paris, 1924, p. 77, no. 248, states that the sitter had been identified as the King of Rome.
Klaus Berger. Gericault et son œuvre. Vienna, 1952, p. 74, under no. 60, lists it with a group of children's portraits that he dates to the period 1818–19.
F. H. Lem. "Gericault portraitiste." L'arte 28 (January–June 1963), pp. 67, 86–87, no. 13, pl. V, fig. d-13, dates it 1817, on the basis of the style and the apparent age of the sitter; relates it to the double portrait of Alfred Dedreux and his sister (private collection, Paris), which he also dates 1817; states that the duke of Trévise bought it at the Goetz sale of 1922; lists provenance and exhibition history.
Charles Sterling, and Margaretta M. Salinger. "XIX Century." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 2, New York, 1966, p. 21, ill., date it about 1818–20; state that "the dramatic simplification of the chiaroscuro and the intense color make this one of Gericault's most characteristic works"; mention that Delacroix either bought this at Gericault's estate sale or got it from the sitter's uncle Dedreux-Dorcy.
Lorenz Eitner. Gericault. Exh. cat., Los Angeles County Museum of Art. Los Angeles, 1971, pp. 60, 177, no. 23, ill., remarks that it is characteristic of Gericault's style of about 1815–16.
Philippe Grunchec. L'opera completa di Gericault. Milan, 1978, pp. 100–1, 105, 108, no. 95, ill., suggests that the strong color and rather crude contrasts indicate a date before Alfred's stay in Rome with his father, Pierre-Anne Dedreux, in 1815–18; notes that this painting was included in Delacroix's posthumous inventory as no. 228.
Hélène Toussaint. French Painting: The Revolutionary Decades, 1760–1830. Exh. cat., Art Gallery of New South Wales. Sydney, 1980, p. 107, dates it 1814–15? and discusses the landscape, noting that this is the last time the "heavily impasted, fleecy clouds" appear in Gericault's work.
Lorenz E. A. Eitner. Gericault, His Life and Work. London, 1983, pp. 93, 300, 334 n. 134, colorpl. 16, states that it was probably painted in the summer of 1815; discusses the odd monumetalization and harshness of the work, influenced by the "Michelangelesque grandeur" of Gericault's academic nudes of the same period.
Dewey F. Mosby. "Notes on Two Portraits of Alfred Dedreux by Gericault." Arts 58 (September 1983), pp. 84–85, fig. 2, proposes that it was painted in 1817, when both the sitter and the painter were living in Rome.
Sylvain Laveissière Régis Michel in Gericault. Exh. cat., Galeries Nationales du Grand Palais. Paris, 1991, pp. 108, 111, 363–64, no. 126, colorpl. 180, date this picture about 1819–20, on the basis of a drawing (sold, Hôtel Drouot, Paris, October 27, 1986) where Alfred is wearing the same clothing and appears to be almost ten years old.
Germain Bazin. "Le retour à Paris: Synthèse d'expériences plastiques." Théodore Géricault, étude critique, documents et catalogue raisonné. 5, Paris, 1992, pp. 83, 237, no. 1722, ill. (color and black and white).
Hôtel Drouot, Paris. Importants tableaux des XIXe et XXe siècles: Exceptionnel ensemble d'œuvres de Gericault provenant de l'ancienne collection du duc de Trévise.November 23, 1992, unpaginated, under no. 13, ill. (color), mentions it in connection with the bust-length portrait of a child, probably Aflred Dedreux, formerly in the collections of the duc de Trévise and Robert Label.
Stefan Germer in Géricault, la folie d'un monde. Exh. cat., Musée des Beaux-Arts, Lyons. Paris, 2006, pp. 27–29, 112–13, 227, no. 50, colorpl. 57, dates it 1817–18; notes that Gericault borrows the British tradition of depicting aristocrats in a landscape setting and compares it to Reynolds's portrait of "Master Crewe in the Costume of Henry VIII" (about 1775; private collection); analyzes this picture in terms of the nineteenth-century conception of childhood, observing an unsettling strangeness in Alfred's pose and expression.
Gary Tinterow in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 24, 253, no. 22, ill. (color and black and white).
Tableaux et dessins anciens et du XIXème siècle. Christie's, Paris. February 24, 2009, pp. 80, 84, 137, under no. 84, fig. 1 (color), discusses it in relation to its pendant, "Elisabeth Dedreux enfant dans la campagne" and the double portrait "Portrait d'Alfred et Elisabeth Dedreux" (lot nos. 83, 84).