Tristan Bernard. "Jos Hessel." La Renaissance 13 (January 1930), ill. p. 19, as "Femme se coiffant".
Introduction by René Huyghe. Cent trente chefs-d'œuvre de l'art français du moyen age au XXe siècle. Paris, 1937, pl. 118.
Charles Sterling in Chefs d'œuvre de l'art français. Exh. cat., Palais National des Arts. Paris, 1937, p. 155, no. 310.
Charles Sterling and Margaretta M. Salinger. "XIX–XX Centuries." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 3, New York, 1967, p. 89, ill., as "Nude Combing Her Hair"; call it a very close, less finished version of L849 [see Notes].
Philippe Brame and Theodore Reff. Degas et son oeuvre: A Supplement. New York, 1984, pp. 124–25, no. 115, ill., call it "Femme se coiffant" and date it about 1885.
Norma Broude. "Edgar Degas and French Feminism, ca. 1880: 'The Young Spartans,' the Brothel Monotypes, and the Bathers Revisited." Art Bulletin 70 (December 1988), p. 655, fig. 12, calls it "Nude Combing Her Hair" and dates it about 1885.
Michael Pantazzi in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, p. 256, relates the pose to that of the central figure in the earlier composition "Women Combing Their Hair" (about 1875; Phillips Collection, Washington, D.C.; L376).
Gary Tinterow in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 369, 415, 451, 464–65, 468, no. 285, ill. p. 467 (color), calls it "Nude Woman Combing Her Hair" and dates it about 1888–90; discusses it as the last variant among a group of three pictures of a model in the same pose, locating the primary work in the Hermitage Museum, St. Petersburg (L848) and the second composition, nearly identical to ours, in a private collection (L849); notes that in ours, Degas used a new technique of applying pastels in successive layers of parallel strokes; remarks upon the "audacious, antinatural chartreuses and greens" used for the fleshtones, mentioning the influence of Seurat in the use of complementary colors; sees in these poses of women's backs Degas's admiration for Ingres's "Valpinçon Bather" (1808; Musée du Louvre, Paris).
Richard Thomson. "The Degas Exhibition in Ottawa and New York." Burlington Magazine 131 (April 1989), p. 294, disagrees with the date of about 1888–90 in Ref. Tinterow 1988, proposing that this pastel was executed in the mid-1890s "on the grounds of the disembodiment of its marks from the form, the delight in the autonomous sensuality of pastel" and the "dabbed background"; calls the version in a private collection "a typical pastel of the later 1880s".
Jean Sutherland Boggs and Anne Maheux. Degas Pastels. New York, 1992, pp. 116–17, 174, no. 39, ill. (color).
Richard Kendall. Degas, Beyond Impressionism. Exh. cat., National Gallery. London, 1996, pp. 63, 103, fig. 61, calls it "Nude Combing Her Hair".
Antoine Salomon and Guy Cogeval. Vuillard: The Inexhaustible Glance. Critical Catalogue of Paintings and Pastels. Milan, 2003, vol. 3, p. 1487, under no. XII-67, ill., identify it as the pastel depicted in Vuillard's painting of the Hessel home, "The Small Drawing-Room in Rue de Naples" (about 1933–35; private collection).