Raymond Bouyer. "Quelques portraits de Winterhalter." Le Figaro artistique (May 31, 1928), p. 528, ill.
Armand Dayot. "Winterhalter–Painter to the Second Empire." International Studio 91 (October 1928), pp. 41–42, ill.
Armand Dayot. "À propos de Winterhalter." Art et les artistes 87 (May 1928), pp. 259–60, ill. opp. p. 262.
Albert Flament. "L'exhibition Winterhalter." L'illustration 447 (May 26, 1928), p. 552, ill.
"Art Notes Round the Galleries." Apollo 25 (January 1937), p. 46.
"A XIX-Century 'Fürstenmaler'." The Connoisseur 99 (January 1937), p. 44, ill.
Vanity Fair. Exh. cat., California Palace of the Legion of Honor. San Francisco, 1942, p. 14, no. 21, remarks that the Empress is walking in the park of the Chateau of Compiègne.
Rainer Schoch. Das Herrscherbild in der Malerei des 19.Jahrhunderts. Munich, 1975, pp.148–49, 359, fig. 158.
Steven Z. Levine. "The Crisis of Resemblance: Portraits and Paintings during the Second Empire." Arts Magazine 53 (December 1978), pp. 92–93, ill.
J[oseph]. R[ishel]. in The Second Empire, 1852–1870: Art in France under Napoleon III. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1978, pp. 357–58, no. VI-109, ill. [French ed., "L'art en France sous le Second Empire," Paris, 1979, pp. 413–14, no. 277, ill.], suggests that it may have been exhibited in the Salon of 1855, and is unique, among Eugénie's many portraits, in being on a relatively intimate scale and a second empire adaptation of a Louis XVI gown, perhaps a direct depiction of a costume worn at one of the early masked balls at the Tuileries; discusses Eugénie's interest in Marie Antoinette.
Artemis Fine Arts, Inc. Artemis 78–79: Consolidated Audited Annual Report (October 26, 1979), pp. 5, 34, no. 13, colorpl. 13, confirms that the setting is the park of Compiègne, the Imperial couple's favorite residence, where they stayed each autumn; notes that it remained in Eugénie's private apartments until the end of the Second Empire in 1870.
The Collection of Germain Seligman. New York, 1979, unpaginated, no. 89, ill., inaccurately lists it as one of the personal treasures that the French government returned to Eugénie when she lived in exile in England; suggests that her depiction in the grandest eighteenth-century manner is a result of Second Empire nostalgia for past splendors, calling it "unashamedly 'retardataire'".
Barbara Scott. "In the Shadow of Marie-Antoinette." Country Life 166 (December 6, 1979), p. 2160, fig. 1.
Dean Walker in The Metropolitan Museum of Art: Notable Acquisitions, 1975–1979. New York, 1979, p. 54, ill., suggests that it may have been painted as a model for a full-scale portrait that was never executed.
Dore Ashton and Denise Browne Hare. Rosa Bonheur: A Life and a Legend. New York, 1981, p. 78, ill.
Richard Ormond et al. Franz Xaver Winterhalter and the Courts of Europe, 1830–70. Exh. cat., National Portrait Gallery. London, 1987, pp. 48, 53, 70–71, 127, 202–3, no. 52, ill. (color and black and white), calls the profile view here the genesis for Winterhalter's favorite alternative format for standing portraits, "where the figure resembles the shape of a bell with curved handle".
Marie Simon. Fashion in Art: The Second Empire and Impressionism. London, 1995, p. 96, ill. p. 99 (color).
Angelina Pötschner in Der Traum vom Glück: Die Kunst des Historismus in Europa. Exh. cat., Künstlerhaus Wien. Vienna, 1996, vol. 2, pp. 466–67, no. 12.8, colorpl. 12.8.
Pierre Apraxine and Xavier Demange. La Comtesse de Castiglione par elle-même. Exh. cat., Musée d'Orsay. Paris, 1999, p. 57, illustrates a photograph (location unknown) dated 1854 by Mayer frerès of Empress Eugénie, in the same pose and a similar dress, which was used as a preparatory study for the MMA picture.
Florence Austin. Letter to Katharine Baetjer. July 22, 1999, encloses a photocopy of a photograph of it hanging in the Empress's private apartment at Saint Cloud, in the southern wing of the palace, from about the mid 1860s, where it hung on green damask; notes that the Empress was known to change the location of her pictures frequently.
Eva-Lena Karlsson in Görel Cavalli-Björkman. Face to Face: Portraits from Five Centuries. Exh. cat.Stockholm, 2001, p. 211, no. 215, colorpl. 215.
Florence Austin Montenay. Saint-Cloud: une vie de château. Geneva, 2005, ill. p. 294.