Sidney Tillim. "New York Exhibitions: Month in Review." Art Magazine 37 (December 1962), p. 39.
Lawrence Alloway. "Notes on Barnett Newman." Art International 13 (Summer 1969), p. 35.
Thomas B. Hess. Barnett Newman. Exh. cat., Museum of Modern Art, New York. New York, 1971, pp. 45, 47, ill. p. 44, locates it in the estate of the artist; identifies it as one of three drawings ("Gea," 1944–45, Art Institute of Chicago; "The Slaying of Osiris," 1944–45, Ulla and Heiner Pietzsch collection, Berlin) the artist titled in a series in which "he concentrated on two themes–the new seed with its leaf–wings and the abstract landscaper over which it flies"; states that its mythological title reflects the artist's interest in primitive art and civilization he shared with Gottlieb, Rothko, and others.
Charles Harrison. "Abstract Expressionism II." Studio International 185 (February 1973), ill. p. 54.
Benjamin Garrison Paskus. "The Theory, Art and Critical Reception of Barnett Newman." PhD diss., University of North Carolina, 1974, pp. 67–68, dates it 1945.
Lois Fichner-Rathus in The Dada/Surrealist Heritage. Ed. Sam Hunter. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 1977, p. 11, fig. 3.
David M. Quick. "Meaning in the Art of Barnett Newman and Three of His Contemporaries: A Study of Content in Abstract Expressionism." PhD diss., University of Iowa, 1978, p. 44, fig. 1, dates it 1945 and locates it in the estate of the artist.
Brenda Richardson. Barnett Newman: The Complete Drawings, 1944–1969. Exh. cat., Baltimore Museum of Art. Baltimore, 1979, pp. 54–55, 62, no. 11, ill. (color).
Annette Cox. Art–As–Politics: The Abstract Expressionist Avant–Garde and Society. 2nd ed. [1st ed. 1977]. Ann Arbor, 1982, p. 74, dates it 1945; states that the artist used Surrealist biomorphic imagery to represent the struggle between life and death.
Lily Mark. "The Relevance of Title to Form and Content in the Mature Work of Barnett Newman." PhD diss., University of Witwatersrand, 1983, pp. 141, 153, 159, 161, 166, dates it 1945.
W. Jackson Rushing. "The Impact of Nietzsche and Northwest Coast Indian Art on Barnett Newman's Idea of Redemption in the Abstract Sublime." Art Journal 47 (Fall 1988), pp. 192, 194 n. 34, fig. 5, ill. on cover, locates it in the collection of Annalee Newman, New York; connects the artist's evocation of Orpheus to his concern with the nietzschean conception of tragedy that is "born out of the spirit of music".
Patrick Negri. "Signs of Being: A Study of the Religious Significance of the Art of Barnett Newman, Jackson Pollock, and Mark Rothko." PhD diss., Graduate Theological Union, 1990, p. 51.
Judith E. Bernstock. Under the Spell of Orpheus: The Persistence of a Myth in Twentieth–Century Art. Carbondale, Ill., 1991, pp. 142–44, fig. 44, dates it summer 1945; states that the artist's choice in Orpheus as a subject "reflects his own intent to comprehend the inner workings and unity of nature" and that he "turned to Orpheus...shortly after having experienced an identity crisis as an artist, and in Orpheus he seems to find confirmation of the direction that he chose"; connects the organic imagery with the artist's focus on the natural sciences in the early 1940s.
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. 74, 78, 80, fig. 27 (color), identifies it as one of four drawings the artist titled from 1944–45 and one of only eight that he signed; suggests the artist's evocation of Orpheus in the title reflects the "divine union of man, animal, earth, and plant" he wished to convey.
Judith E. Bernstock. "Classical Mythology in Twentieth–Century Art: An Overview of a Humanistic Approach." Artibus et Historiae 14, no. 2 (1993), pp. 156, 177, fig. 3, calls it "Song of Orpheus" in the caption and locates it in the collection of Annalee Newman, New York.
Lisa M. Messinger. "Recent Acquisitions: A Selection 1992–1993." Metropolitan Museum of Art Bulletin 51 (Autumn 1993), p. 75, ill. (color).
Harold Rosenberg. Barnett Newman. 2nd ed. [1st ed. 1978]. New York, 1994, p. 49, fig. 140 (color).
Lisa Messinger. Abstract Expressionism: Works on Paper, Selections from The Metropolitan Museum of Art. Exh. cat., National Museum of Modern Art, Tokyo. Tokyo, 1995, p. 65, no. 36 (color).
W. Jackson Rushing. "Exhibition Reviews: Decade of Decision." Art Journal 54 (Spring 1995), p. 88, fig. 1.
Mollie McNickle. "The Mind and Art of Barnett Newman." PhD diss., University of Pennsylvania, 1996, pp. 119, 150, 152–53, 156–57.
David Anfam in "Newman, Barnett." The Dictionary of Art. Ed. Jane Turner. Vol. 23, New York, 1996, p. 27, dates it 1945 and erroneously locates it in the artist's estate.
Lisa M. Messinger. Expresionismo Abstracto: Obra Sobre Papel, Colección The Metropolitan Museum of Art, Nueva York. Exh. cat., Fundación Juan March. Madrid, 2000, pp. 85–86, fig. 36 (color).
Ann Temkin in Barnett Newman. Ed. Ann Temkin. Exh. cat., Philadelphia Museum of Art. Philadelphia, 2002, p. 75 n. 158.
Ann Temkin, Suzanne Penn, and Melissa Ho in Barnett Newman. Ed. Ann Temkin. Exh. cat., Philadelphia Museum of Art. Philadelphia, 2002, p. 114, no. 3, ill. p. 117 (color).
Heidi Colsman–Freyberger. "Catalogue Raisonné." Barnett Newman: A Catalogue Raisonné. New York and New Haven, 2004, p. 376, no. 129, ill. (color).
Suzanne Penn. "Intuition and Incidents: The Paintings of Barnett Newman." Reconsidering Barnett Newman: A Symposium at the Philadelphia Museum of Art. Ed. Melissa Ho. Philadelphia, 2005, p. 83, fig. 39.
Claude Cernuschi. Barnett Newman and Heideggerian Philosophy. Madison, 2012, pp. 171, 176.