Robert de La Sizeranne. "Le double mirroir du XVIIIe siècle." Revue des deux mondes, 5th ser., 40 (July 1907), p. 185, calls it the lady with the pearls and the little dog, the artist's sister.
Maurice Tourneux. "L'exposition Chardin–Fragonard." Gazette des beaux-arts 38 (1907), p. 100.
Armand Dayot, and Léandre Vaillat. L'oeuvre de J.-B.-S. Chardin et de J.-H. Fragonard. Paris, , p. xi, ill. no. 77, call it a portrait of Fragonard's sister, Rosalie, from the collection of M. Féral who acquired it from "De Cambise ou Des Isnards".
Georges Grappe. H. Fragonard: Peintre de l'amour au XVIIIe siècle. Paris, 1913, vol. 1, ill. opp. p. 54, as the artist's sister.
André Dezarrois. "Chroniques: L'art français à Londres." Revue de l'art ancien et moderne 61 (January–May 1932), p. 92.
Charles Sterling in Commemorative Catalogue of French Art, 1200–1900: Royal Academy of Arts, London. Exh. cat., Royal Academy of Arts. London, 1933, p. 45, no. 164, as a presumed portrait of Rosalie Fragonard dating to 1765–67, belonging to J. Besnier.
"Metropolitan Buys a Fragonard, Who Listened When Fragonard Spoke." Art Digest (February 1, 1938), p. 8, ill.
Art in America 26 (April 1938), p. 92, ill.
"New Metropolitan Pictures." Art News 36 (Janauary 15, 1938), p. 13, ill.
Hermann W. Williams Jr. "Portrait of a Lady with a Dog by Fragonard." Metropolitan Museum of Art Bulletin 33 (January 1938), pp. 14–16, ill. on cover, notes its stylistic similarity to four sketch-like pictures by Fragonard in the Louvre, dating it to 1767–70; states that due to the sitter's anachronistic "Spanish" dress, she may be an actress or singer.
Charles Sterling. "XV–XVIII Centuries." The Metropolitan Museum of Art: A Catalogue of French Paintings. 1, Cambridge, Mass., 1955, pp. 154–55, ill., remarks that the subject has been mistakenly identified as Rosalie, the artist's aunt, and also as his sister (he never had one); suggests an actress or a stage type; notes that the costume recalls the court dress of Marie de' Medici, and would not have been unusual in the French theater of Fragonard's time.
Louis Réau. Fragonard, sa vie et son oeuvre. Brussels, 1956, pp. 182, 252, , as a portrait painted about 1770.
Georges Wildenstein. The Paintings of Fragonard, Complete Edition. London, 1960, pp. 14, 257, 259, no. 256, ill., catalogues it with pictures dating between 1765 and 1772; comments on the influence of Rubens on the technique.
"Rococo Master in Williamstown." Art News 63 (September 1964), p. 44.
Charles Sterling. Portrait of a Man (The Warrior): Jean Honoré Fragonard. Exh. cat., Sterling and Francine Clark Art Institute. Williamstown, Mass., 1964, unpaginated, groups the picture with thirteen others of similar size called "fantasy portraits," which he believes represent specific individuals; suggests that the female portraits of fantasy comprised a different series from those of men; observes that the costume was inspired by Van Loo and Rubens.
Calvin Tomkins. Merchants and Masterpieces: The Story of The Metropolitan Museum of Art. New York, 1970, p. 224 [rev., enl. ed., 1989].
Gabriele Mandel in L'opera completa di Fragonard. Milan, 1972, p. 98, no. 273, ill.
Simone Alaida Zurawski. Rubenism. Exh. cat., Brown University. Providence, 1975, pp. 154–55, fig. 18, refers to it as "Fragonard's most playful adaptation after Rubens" and associates it with the fantasy portraits.
Harsányi Zoltán. Fragonard. Budapest, 1981, p. 14, pl. 15.
Pierre Cabanne. Fragonard. Paris, 1987, p. 65.
Jean-Pierre Cuzin. Jean-Honoré Fragonard: Vie et oeuvre, catalogue complet des peintures. Fribourg, Switzerland, 1987, pp. 116–17, 293–94, no. 182, ill. (color and black and white).
Mary D. Sheriff. "Invention, Resemblance, and Fragonard's 'Portaits de Fantaisie'." Art Bulletin 69 (March 1987), pp. 77–87, cited on p. 84, discusses Fragonard's fantasy portraits as a "deliberate play with the conventions of portraiture, a purposeful confounding of the imagined and the copied, and a demonstration of wit that consciously displayed itself at every turn".
Dore Ashton. Fragonard in the Universe of Painting. Washington, 1988, pp. 86, 133, ill. (color), observes that although it is sometimes included among the fantasy portraits, it "has the feel of a real portrait," noting specifically that the "resemblance to a real sitter comes from the light ironies of an almost mocking brush".
John McEwen. "Fragonard: Rococo or Romantic?" Art in America 76 (February 1988), p. 90, ill. (color).
Pierre Rosenberg. Fragonard. Exh. cat., The Metropolitan Museum of Art. New York, 1988, pp. 288–89, no. 139, ill. (color) [French ed., 1987], calls it an "homage to Rubens," meant to be humorous.
Pierre Rosenberg. Tout l'oeuvre peint de Fragonard. Paris, 1989, p. 93, no. 204, ill.
Sophie McConnell. Metropolitan Jewelry. New York, 1991, pp. 44–45, ill. (color).
Aileen Ribeiro. The Art of Dress: Fashion in England and France 1750 to 1820. New Haven, 1995, p. 167, pl. 169, dates it about 1772–73.
Emilie E. S. Gordenker. Anthony van Dyck (1599–1641) and the Representation of Dress in Seventeenth-century Portraiture. Turnhout, Belgium, 2001, p. 126 n. 118.
Flavio Caroli and Alessandra Barbuto in Il gran teatro del mondo: l'anima e il volto del Settecento. Exh. cat., Palazzo Reale. Milan, 2003, p. 440.
Katharine Baetjer in The Metropolitan Museum of Art, New York: Chefs-d'œuvre de la peinture européenne. Exh. cat., Fondation Pierre Gianadda. Martigny, 2006, pp. 204–8, no. 38, ill. (color, overall and detail) [Catalan ed., Barcelona, 2006, pp. 112–15, no. 30, ill. (color, overall and detail)].