Thomas B. Hess. "8 Excellent, 20 Good, 133 Others." Art News 48, no. 9 (January 1950), p. 34, ill.
Howard Devree. "American Roundup: Four Group Shows of Contemporary Art." New York Times (April 30, 1950), ill. p. X8.
Louis Finkelstein. "Marin and de Kooning." Magazine of Art 43, no. 6 (October 1950), ill. p. 206.
Thomas B. Hess. "Introduction to Abstract." Art News Annual 20 (1951), ill. p. 157.
Howard Devree. "Master's Drawings: Five Centuries of French Artists' Work at Metropolitan–de Kooning." New York Times (March 22, 1953), p. X8, calls it "The Attic".
William C. Seitz. "Abstract–Expressionist Painting in America: An Interpretation Based on the Work and Thought of Six Key Figures." PhD diss., Princeton University, 1955, pp. 127, 207, fig. 23, calls it "The Attic".
Louis Finkelstein. "New Look: Abstract-Impressionism." Art News 55, no. 1 (March 1956), p. 66.
Thomas B. Hess. Willem de Kooning. New York, 1959, pp. 21, 24, ill. no. 106.
Harriet Janis and Rudi Blesh. De Kooning. New York, 1960, pp. 10, 30, pl. 9.
Eleanor Page. "She Lives in an Art Museum." Chicago Tribune (September 13, 1964), sec. 3, p. 3, ill.
Thomas B. Hess. De Kooning: Recent Paintngs. Exh. cat., M. Knoedler & Co., Inc. New York, 1967, p. 17.
Thomas B. Hess. Willem de Kooning. Exh. cat., Museum of Modern Art, New York. New York, 1968, pp. 47, 51, 73, 75, 76, 123, ill. pp. 65 and 77 (detail).
Andrew Forge. "De Kooning's 'Women'." Studio International 176 (December 1968), p. 248.
Walter Darby Bannard. "Willem de Kooning's Retrospective at the Museum of Modern Art." Artforum 7 (April 1969), p. 46.
Dore Ashton. "New York Commentary." Studio International 177 (May 1969), p. 244.
Irving Sandler. The Triumph of American Painting: A History of Abstract Expressionism. New York, 1970, pp. 128, 130, pls. 9–11.
Michael Kimmelman. "Willem de Kooning Dies at 92; Reshaped U.S. Art." New York Times (March 20, 1970), p. B14.
Thomas B. Hess. Willem de Kooning: Drawings. Greenwich, Conn., 1972, p. 33.
Sam Hunter. American Art of the 20th Century: Painting, Sculpture, Architecture. New York, 1973, p. 245.
Harold Rosenberg. De Kooning. New York, 1973, pp. 8, 30, pl. 74.
E. A. Carmean, Jr. in American Art at Mid-Century: The Subjects of the Artist. Exh. cat., National Gallery of Art, Washington D.C. Washington, D.C., 1978, p. 167.
Diane Waldman. Willem de Kooning in East Hampton. Exh. cat., Solomon R. Guggenheim Museum. New York, 1978, p. 15.
Judith Goldman. "Collecting in Chicago: 'Love Affairs with Art'." Art News 78 (February 1979), p. 49, ill.
Alice Hess. "Great Private Collections: A Chicago Visionary." Saturday Review 7, no. 14 (October 1980), pp. 72, 75, ill. p. 73.
Grace Glueck. "Met Is Given a $12 Million Art Collection." New York Times (December 10, 1980), p. B7, ill.
"Chicagoan Gives Art to N. Y. Museum." Chicago Sun-Times (December 11, 1980), p. 8.
Charles Stuckey. "Bill de Kooning and Joe Christmas." Art in America (March 1980).
Hilton Kramer. "Modernist Show Moves Met Firmly into Art of 20th Century." New York Times (May 22, 1981), pp. C1, C21.
Lisa M. Messinger. "The Muriel Kallis Steinberg Newman Collection: A Promised Gift." The Metropolitan Museum of Art: Notable Acquisitions, 1980–1981. New York, 1981, p. 62, ill.
Grace Glueck. "Is Chicago Losing Out in the Art War?" New York Times (August 2, 1981), sec. 2, p. 1.
"Newman at the Met." Connaissance des arts no. 17 (June 1981), p. 28.
Diana Loercher-Pazicky. "The Newman Bequest." Connaissance des arts no. 19 (August 1981), pp. 16–17.
Franz Schulze. "Art: Newman Collection Gets Lavish Attention from Met." Chicago Sun-Times (August 9, 1981).
Grace Glueck. "Met Acquires Early Pollock." New York Times (January 13, 1982), p. C19.
Grace Glueck. "De Kooning Retrospective of 60 Years at Whitney." New York Times (December 16, 1983), p. 15.
Harry F. Gaugh. Willem de Kooning. New York, 1983, pp. 31, 36, pls. 25–26 (detail and overall), states that this painting's "four–part composition and deliberate asymmetry may foreshadow his [the artist's] pictorial concerns of the late 1940s and '50s".
The Metropolitan Museum of Art Guide (1983), p. 421, no. 23, ill.
William C. Seitz. Abstract Expressionist Painting in America. Cambridge, Mass., 1983, ill. p. 23.
Jörn Merkert in Willem de Kooning: Drawing, Painting, Sculpture. Exh. cat., Whitney Museum of American Art. New York, 1983, pp. 115, 126, no. 170, ill. p. 167 (color).
"Upfront: Up's Column." Chicago Magazine (April 1984), p. 14.
Harry F. Gaugh. "De Kooning in Retrospect." Art News 83 (March 1984), p. 94.
Eugene Victor Thaw. "The Abstract Expressionists." Metropolitan Museum of Art Bulletin 44 (Winter 1986–87), p. 25, fig. 19 (color).
William Agee. "Muriel Kallis Newman: Life among the Moderns." Architectural Digest (December 1986), p. 70.
Lisa Mintz Messinger in 20th Century Art: Selections from the Collection of The Metropolitan Museum of Art, New York. Vol. 2, Painting: 1945-1985. New York, 1986, pp. 20–21, ill. (color, overall and detail).
Sally Yard. Willem de Kooning: The First Twenty–Six Years in New York. New York, 1986, pp. 153, 159, 169–71, 195, 222 n. 213, 223–24 n. 221, fig. 209 and 210 (detail), groups this painting as one of the artist's abstract works using primarily black and white enamel paint from 1947–52; identifies this painting as de Kooning's largest abstract painting before 1950, with the exeception of has backdrop for the ballet, Labyrinth (The Allan Stone Collection, New York City); suggests that the "compacted and quirky shapes" that fill this painting's composition are "evocative of the cluttered masses of many an attic".
Janet Hobhouse. The Bride Stripped Bare: The Artist and the Nude in the Twentieth Century. London, 1988, p. 238, pl. 211.
Paul Schimmel in The Figurative Fifties: New York Figurative Expressionism. Exh. cat., Newport Harbor Art Museum. Newport Beach, 1988, p. 53, ill. p. 55.
Hilton Kramer. "Though Exhibiting It Badly, Met Offers a Worthy de Kooning Show." New York Observer (August 28, 1989), p. 19.
Stephen Polcari. Abstract Expressionism and the Modern Experience. Cambridge, 1991, pp. 263, 280, 282–83, 296, fig. 201.
Lisa Mintz Messinger. Abstract Expressionism, Works on Paper: Selections from The Metropolitan Museum of Art. Exh. cat., High Museum of Art, Atlanta. New York, 1992, pp. 24, 30 n. 7.
April Kingsley. The Turning Point: The Abstract Expressionists and the Transformation of American Art. New York, 1992, pp. 211–12, 366, 389 n. 38.
Lee Hall. Elaine and Bill, Portrait of a Marriage: The Lives of Willem and Elaine de Kooning. New York, 1993, p. 133.
Michael Kimmelman. "America's Living Old Master." New York Times (May 15, 1994), p. H41.
Stephen Polcari. "Willem de Kooning: Washington, National Gallery." Burlington Magazine 136 (September 1994), p. 644.
David Anfam in Franz Kline: Black and White, 1950–1961. Exh. cat., Menil Collection. Houston, 1994, p. 11.
Richard Shiff in Willem de Kooning: Paintings. Exh. cat., National Gallery of Art, Washington D.C. Washington, D.C., 1994, p. 54.
Marla Prather in Willem de Kooning: Paintings. Exh. cat., National Gallery of Art, Washington D.C. Washington, 1994, pp. 93, 99–100, 105 n. 65, no. 19 (color).
David Sylvester. "The Birth of Woman I." Burlington Magazine 137 (April 1995), pp. 225–29.
Barbara Haskell. The American Century: Art and Culture, 1900–1950. Exh. cat., Whitney Museum of American Art. New York, 1999, fig. 699.
Robert Rosenblum. "American Painting since the Second World War." On Modern American Art: Selected Essays by Robert Rosenblum. New York, 1999, p. 66, fig. 36.
Michael Darling in Takashi Murakami: Summon Monsters? Open the Door? Heal? Or Die? Exh. cat., Museum of Contemporary Art, Tokyo. Tokyo, 2001, p. 69, ill. p. 70, no. 13.
Willem de Kooning. Exh. cat., Institut Valencià d'Art Modern. Valencia, 2001, ill. p. 12.
David Anfam. "De Kooning, Bosch and Bruegel: Some Fundamental Themes." Burlington Magazine (October 2003), p. 709.
Mark Stevens and Annalyn Swan. De Kooning: An American Master. New York, 2004, pp. 282, 293–97, call this painting an antecedent for "Excavation" (1950, Museum of Modern Art, New York); identify this painting as the artist's largest to date.
Caroline A. Jones. Eyesight Alone: Clement Greenberg's Modernism and the Bureaucratization of the Senses. Chicago, 2005, fig. 2.2.
Michael FitzGerald. Picasso and American Art. Exh. cat., Whitney Museum of American Art. New York, 2006, ill. p. 220, fig. 87 (ill. in black and white)
Richard Shiff in Abstract Expressionism and Other Modern Works: The Muriel Kallis Steinberg Newman Collection in The Metropolitan Museum of Art. Ed. Gary Tinterow, Lisa Mintz Messinger, and Nan Rosenthal. Exh. cat., The Metropolitan Museum of Art. New York, 2007, pp. 75–79, no. 25, ill. (color).
John Elderfield. de Kooning: a Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, pp. 23–25, 33–34, 36, 189, fig. 13 (color), 254, 360, colorpl. 67.
Lauren Mahoney in John Elderfield. de Kooning: A Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, pp. 209–14, figs. 3, 5, and 6 (details), 227–28, colorpl. 67, quotes Ref. Gaugh 1983.
Delphine Huisinga in John Elderfield. de Kooning: A Retrospective. Exh. cat., Museum of Modern Art, New York. New York, 2011, p. 192.
Jim Coddington in John Elderfield. de Kooning: a Retrospective. Ed. David Frankel. Exh. cat., Museum of Modern Art, New York. New York, 2011, p. 223.
Richard Shiff. Between Sense and de Kooning. London, 2011, pp. 48, 51, 59, 82, 115, 235, fig. 11 (color), calls the offset newsprint images that appear throughout the painting "accidents" that the artist embraced and incorporated into the composition.
The Metropolitan Museum of Art Guide. New York, 2012, p. 422, ill. (color).
Judith Zilczer. A Way of Living: The Art of Willem de Kooning. London, 2014, pp. 91, 99, 104, 253, 261, fig. 109 (color), claims that this painting reflects the artist's attempts to combine multiple figures in a charged space; quotes Elaine de Kooning, the artist's wife, as recalling her husband naming this painting "because you put everything in it"; quotes James Johnson Sweeney explaining his decision to include this painting in the 1949 biennial at the Museum of Fine Arts in Richmond, Virginia because he was drawn to "its flashes of red and yellow, and its rushing–and–retreating line breaking into ever new images".