Charles Clément. Géricault: étude biographique et critique avec le catalogue raisonné de l'oeuvre du maître. 2nd ed. (1st ed. 1867). Paris, 1868, p. 422, describes the picture and mentions the reproductive lithograph by Vienot.
Charles Clément. Géricault, étude biographique et critique avec le catalogue raisonné de l'œuvre du maitre. 3rd ed. (1st ed. 1867). Paris, 1879, p. 422.
Robert Rosenblum in Horace Vernet (1789–1863). Exh. cat., Accademia di Francia a Roma. Rome, 1980, p. 15.
Germain Bazin. Théodore Géricault, étude critique, documents et catalogue raisonné. Vol. 1, L'Homme: Biographie, témoignages et documents. Paris, 1987, pp. 219–21, fig. 163, states that this picture was shown in Exh. Paris 1980, though not included in the catalogue; calls it an evidently posthumous portrait; discusses numerous related works: a drawing by Vienot after this painting, a lithograph by F. Noël after Vionet's drawing, an engraving by G. Gorvel after Noël's lithograph, a drawing (British Museum, London) and a lithograph by Alexandre Colin after this painting, and an anonymous painting (private collection) probably after Colin's lithograph.
Germain Bazin. Théodore Géricault, étude critique, documents et catalogue raisonné. Vol. 2, L'Œuvre: Période de formation. Paris, 1987, p. 331, under no. 17, states that this picture inspired an anonymous watercolor portrait (location unknown).
Bruno Chenique in Gericault. Exh. cat., Galeries Nationales du Grand Palais. Paris, 1991, p. 367, no. 144, colorpl. 385, calls it "Portrait de Géricault" and dates it 1827(?).
Bruno Chenique. "Géricault posthume." Géricault. Ed. Régis Michel. Vol. 2, Paris, 1996, pp. 940–41, 947, 951, 953, 955 n. 4, fig. 395, tentatively dates it 1825.
Mark Brady. Drawings and Pictures, 1770–1915. Exh. cat., W. M. Brady & Co., Inc. New York, 1997, unpaginated, no. 14, ill. (color), dates it about 1823, based on an 1823 lithograph by Vernet of Gericault wearing the same headscarf [see Ref. Chenique 1996, fig. 396]; asserts that the "startling immediacy" of this picture provides evidence that it was made during the last year of the artist's life, rather than posthumously.
Gary Tinterow. "Recent Acquisitions, A Selection: 1997–1998." Metropolitan Museum of Art Bulletin 56 (Fall 1998), p. 41, ill., dates it probably 1822 or early 1823; calls it "the portrait that recorded Gericault's appearance for future generations".
Patrick Noon in Patrick Noon. Crossing the Channel: British and French Painting in the Age of Romanticism. Exh. cat., Tate Britain. London, 2003, p. 74, no. 16, ill. (color), calls it "Portrait of Théodore Géricault"; dates it about 1822–23 in the caption and February 1823 in the text, stating that it was probably painted from life.