Léon Clapisson. Collection de tableaux de Léon Clapisson – commencée en mars 1879. 1879–94 [private collection; published in Distel 1997], in this handwritten inventory of his collection, calls it "Jeune femme grise (or assise)" and gives purchase price as Fr 1,000.
Léon Clapisson. Catalogue des tableaux de la collection de Mr L. Clapisson 1882. 1879–94 [private collection; published in Distel 1997], in this handwritten inventory of his collection, calls it "Jeune femme assise sur un canapé" and gives purchase price as Fr 1,000.
Camille Mauclair. The French Impressionists (1860–1900). London, , p. 153, ill.
Léonce Bénédite. "Of Women Painters in France." Women Painters of the World, from the Time of Caterina Vigri, 1413–1463, to Rosa Bonheur and the Present Day. Ed. Walter Shaw Sparrow. London, 1905, ill. p. 211, calls it "Portrait of a Young Woman Seated".
Roger Marx. "Les femmes peintres et l'impressionisme. — Berthe Morisot." Gazette des beaux-arts 38 (December 1, 1907), p. 503, ill.
Vittorio Pica. "Artisti contemporanei: Berthe Morisot — Mary Cassatt." Emporium 26 (July 1907), p. 11, ill.
Vittorio Pica. Gl'impressionisti francesi. Bergamo, 1908, p. 163, ill.
Charles Louis Borgmeyer. The Master Impressionists. Chicago, 1913, p. 236, ill., incorrectly states that it was exhibited at the Galerie Manzi in 1912.
Quelques oeuvres importantes de Manet à Van Gogh. Exh. cat., Galerie Durand-Ruel. Paris, 1932, p. 14, no. 30, ill. p. 7, call it "Jeune femme assise" and date it 1882.
Berthe Morisot (1841–1895). Exh. cat., Musée de l'Orangerie. Paris, 1941, p. 8, no. 25, ill., dates it 1879.
Exposition de la femme: 1800–1930. Exh. cat., Bernheim-Jeune. 1948, p. 30, no. 65, dates it 1882.
Denis Rouart. Berthe Morisot, 1841–1895. Paris, 1948, unpaginated, no. 28, ill., dates it 1879.
Berthe Morisot, 1841–1895. Exh. cat., Ny Carlsberg Glyptotek. Copenhagen, 1949, p. 12, no. 16, dates it 1879.
Denis Rouart. Berthe Morisot: An Exhibition of Paintings & Drawings. Exh. cat., Matthiesen Gallery. 1950, pp. 4, 11, no. 17, pl. IV, dates it 1879.
Exposition Berthe Morisot. Exh. cat., Musée de Dieppe. Dieppe, 1957, p. 2, no. 16, ill., dates it 1879.
Exposition Berthe Morisot (1841–1895). Exh. cat., Musée Toulouse-Lautrec. Albi, 1958, p. 27, no. 14, pl. VII, dates it 1879.
Jerome Mellquist. "Berthe Morisot." Apollo 70 (December 1959), p. 158, fig. 1.
M[arie].-L[ouise]. Bataille and G[eorges]. Wildenstein. Berthe Morisot: Catalogue des peintures, pastels, et aquarelles. Paris, 1961, pp. 9, 28, no. 78, pl. 44., as in the Clapisson collection; date it 1879 and provide some exhibition information.
Berthe Morisot. Exh. cat., Musée Jenisch. Vevey, Switzerland, 1961, p. 8, no. 18, dates it 1879.
"An Impressionist who Loved Children: Berthe Morisot." Illustrated London News 238 (January 21, 1961), p. 107, ill., comments that it is an example of the artist's technique of using free brushstrokes in different directions.
Charles F. Stuckey in Charles F. Stuckey and William P. Scott. Berthe Morisot, Impressionist. Exh. cat., National Gallery of Art, Washington. New York, 1987, pp. 78, 80, fig. 51, dates it 1878–79, noting the difficulty in dating works from this period, but remarks that the balcony setting with venetian blinds corresponds to those in her avenue Victor Hugo apartment, found in this and "Behind the Blinds," both of which are compared to Millais's "Hearts are Trumps" (Tate Britain, London) of 1878.
Gary Tinterow in "Recent Acquisitions, A Selection: 1991–1992." Metropolitan Museum of Art Bulletin 50 (Fall 1992), p. 49, ill. (color), remarks that the artist was at her apogee when she painted this model in her Paris apartment; comments that she had melded Manet's bravura brushwork with her own opalescent palette.
Alain Clairet, Delphine Montalant, and Yves Rouart. Berthe Morisot, 1841–1895: Catalogue raisonné de l'œuvre peint. Montolivet, 1997, p. 151, no. 78, ill.
Anne Distel in Colin B. Bailey. Renoir's Portraits: Impressions of an Age. Exh. cat., National Gallery of Canada, Ottawa. New Haven, 1997, pp. 83, 353, identifies it as a work included in two inventories of Léon Clapisson's collection.
Sylvie Patry in Berthe Morisot, 1841–1895. Exh. cat., Palais des Beaux-Arts de Lille. Martigny, 2002, p. 186.
Charles Harrison. Painting the Difference: Sex and Spectator in Modern Art. Chicago, 2005, p. 133, fig. 98, observes that the young woman has "the aspect of a particular known individual, while the space that opens up behind her has the specificity of a familiar location".
Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 134, 243–44, no. 96, ill. (color and black and white).