Paris. Salon. 1801, no. 338 (as "plusieurs portraits peints, sous le même numéro" by "N. V. M.me.") [probably including our picture, which appears in the etched view of the Salon published by Monsaldy and Devisme].

Paris. École des Beaux-Arts. "Portraits de femmes et d'enfants," April 30, 1897–?, no. 44 (as "Mademoiselle Charlotte du Val d'Ognes," by Jacques-Louis David, lent by Commandant Hardouin de Grosville).

New York. Century Association. "Sculpture by Houdon, Paintings and Drawings by David," February 19–April 10, 1947, no. ?

Philadelphia Museum of Art. "Diamond Jubilee Exhibition: Masterpieces of Painting," November 4, 1950–February 11, 1951, no. 49 (as "Mlle Charlotte du Val d'Ognes," by David).

New York. The Metropolitan Museum of Art. "Art Treasures of the Metropolitan," November 7, 1952–September 7, 1953, no. 138 (as "Mlle Charlotte du Val d'Ognes" by "Constance Marie Charpentier (?)").

New York. The Metropolitan Museum of Art. "The Painter's Light," October 5–November 10, 1971, no. 11 (as by Constance-Marie Charpentier).

Leningrad [St. Petersburg]. State Hermitage Museum. "100 Paintings from the Metropolitan Museum," May 22–July 27, 1975, no. 54.

Moscow. State Pushkin Museum. "100 Paintings from the Metropolitan Museum," August 28–November 2, 1975, no. 54.

Miami. Center for the Fine Arts. "In Quest of Excellence: Civic Pride, Patronage, Connoisseurship," January 14–April 22, 1984, no. 92.

Museum of Fine Arts, Houston. "The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920," February 4–May 6, 2007, no. 1.

Berlin. Neue Nationalgalerie. "Französische Meisterwerke des 19.Jahrhunderts aus dem Metropolitan Museum of Art, New York," June 1–October 7, 2007, unnumbered cat.

Maurice Tourneux. "L'exposition des portraits de femmes et d'enfants." Gazette des beaux-arts, 3rd ser., 17 (June 1897), pp. 457–58, notes that according to Hardouin de Grosville, who lent this picture to the exhibition, his grandmother (Mlle du Val d'Ognes) was a pupil of David, who painted the portrait in 1803; believes the two figures on the terrace are also portraits.

Charles Saunier. Louis David. Paris, 1904, p. 55, ill. p. 97, repeats the claim that David painted the portrait of Mlle du Val d'Ognes in 1803 and observes that the realistic detail of the broken window is unusual for him.

"The Mr. and Mrs. Isaac D. Fletcher Collection." Metropolitan Museum of Art Bulletin 13 (March 1918), pp. 59–60, ill. on cover, calls our picture a portrait of Mlle du Val d'Ognes by David.

W. R. Valentiner. Jacques Louis David and the French Revolution. New York, 1929, ill. (frontispiece).

Richard Cantinelli. Jacques-Louis David, 1748–1825. Paris, 1930, p. 117, no. 183, lists it among David's undated works and calls it a portrait of Mlle Charlotte du Val d'Ognes.

G. L. McCann. "A Portrait by David." Bulletin of the Cincinnati Art Museum 4 (April 1933), p. 60.

Gaston Brière. "Sur David portraitiste." Bulletin de la Société de l'Histoire de l'Art Français (1945–46), p. 174, states that it does not seem to have any connection with David's style of painting and considers it a work by the same hand as a portrait erroneously called "Mademoiselle David," which was in the collection of baronne Jeannin.

Henry S. Francis. "A Portrait by Jacques Louis David." Bulletin of the Cleveland Museum of Art 32 (June 1945), p. 84.

Douglas Cooper. "Jacques-Louis David: A Bi-Centenary Exhibition." Burlington Magazine 90 (October 1948), p. 277, regrets this picture's absence in the 1948 David exhibition in Paris.

André Maurois. J.-L. David. Paris, 1948, unpaginated, calls it the most astonishing feminine portrait by David, "a merciless portrait of an intelligent, homely woman. . . with colors worthy of Vermeer. . . perfect, unforgettable".

Everard M. Upjohn et al. History of World Art. New York, 1949, p. 312, fig. 339, as by David.

Emily Genauer. "Art and Artists: Old Master Reattributed." Herald Tribune [Sunday Magazine] (February 4, 1951), p. ?.

"The Art of Judging Art." New York Herald Tribune (May 17, 1951), p. ?.

James Thrall Soby. "A 'David' Reattributed." Saturday Review (March 3, 1951), pp. 42–43, remarks that "there is a certain poetic justice in the fact that an outstanding icon of a masculine epoch is probably the work of a woman".

Charles Sterling. "A Fine 'David' Reattributed." Metropolitan Museum of Art Bulletin 9 (January 1951), pp. 121, 123–32, ill. (overall and detail), rejects the attribution of this picture to David and sees instead a combination of the style of David with that of his pupil Gérard, though the latter's influence prevails; accepts the identity of the subject as Charlotte du Val d'Ognes; notes that in an engraving by Monsaldy and Devisme, "Vue du Salon de l'An IX (1801)," one can see our picture on the wall, but without a Salon catalogue number affixed to it; reproduces a counterproof of our picture made for this engraving (Cabinet des Estampes, Paris); concludes that this portrait must have been painted in or before 1801 and cannot have been produced in 1803 as is claimed by Refs. Tourneux 1897 and Saunier 1904; notes that David did not exhibit at the Salon of 1801 and judging from the register of pictures sent to the Salon that year, believes that only Jean Baptiste Genty and Mme Charpentier could have painted our picture; places his bet on Charpentier, comparing her only known work in oils, "Melancholy," in the Amiens Museum, to our canvas, noting, however, that there is "a certain divergence in spirit" in the two works.

Charles Sterling. "Sur un prétendu chef-d'oeuvre de David." Bulletin de la Société de l'Histoire de l'Art Français (1951), pp. 118–30, ill., presents his argument for attribution of this picture to Mme Charpentier.

Art Treasures of the Metropolitan: A Selection from the European and Asiatic Collections of The Metropolitan Museum of Art. Exh. cat., The Metropolitan Museum of Art. New York, 1952, p. 232, no. 138, colorpl. 138, attributes it to Charpentier.

Miroir de l'histoire no. 38 (March 1953), p. ?, ill. on cover (color).

Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), pp. 6, 42, ill.

Charles Sterling. Letter to Elizabeth Gardner. March 22, 1954, writes that he is "a little appalled to see that the Charpentier attribution seems to be accepted without the slightest doubt or question mark".

Charles Sterling. "XV–XVIII Centuries." The Metropolitan Museum of Art: A Catalogue of French Paintings. 1, Cambridge, Mass., 1955, pp. 196–200, ill., concludes that "the old attribution of our portrait to David is definitely refuted and that its ascription to Mme Charpentier has a strong probability".

Yvon Bizardel. "Les académiciennes au XVIIIe siècle." Le jardin des arts no. 31 (May 1957), p. 442.

Art News (January 1971), detail ill. on cover (color).

René Verbraeken. Jacques-Louis David jugé par ses contemporains et par la postérité. Paris, 1973, pp. 15, 19–20 n. 54.

Vivian P. Cameron. Letter to Mary Ann W. Harris. October 4, 1974, observes that a comparison of this picture with detailed slides of the signed work by Mlle Charpentier in Amiens leads her to question Sterling's attribution.

Hugo Munsterberg. A History of Women Artists. New York, 1975, pp. 46–48, ill., as the most famous painting of Constance-Marie Charpentier.

Linda Nochlin in Women Artists: 1550–1950. Exh. cat., Los Angeles County Museum of Art. New York, 1976, p. 207, discusses Sterling's attribution of this picture to Mme Charpentier, calling it quite convincing but by no means definitive.

Karen Petersen and J.J. Wilson. Women Artists: Recognition and Reappraisal from the Early Middle Ages to the Twentieth Century. New York, 1976, pp. 61–63, ill., consider that "it may well be by Charpentier" and describe it as "an eighteenth-century Mona Lisa"; publish a poem by Joanna Griffin inspired by the picture.

Daniel Wildenstein. Letter. June 27, 1977, states that he and his father have always been convinced that this painting was by Gérard; thinks that he can find a document showing that Gérard exhibited it at the Salon, though it was not in the catalogue.

Donna G. Bachmann and Sherry Piland. Women Artists: An Historical, Contemporary and Feminist Bibliography. Metuchen, N.J., 1978, pp. 105–7, ill.

Elsa Honig Fine. Women & Art: A History of Women Painters and Sculptors from the Renaissance to the 20th Century. Montclair, N.J., 1978, pp. 53–54, colorpl. 1, as by Charpentier.

Germaine Greer. The Obstacle Race: The Fortunes of Women Painters and Their Work. New York, 1979, pp. 142–43, 215, colorpl. 16, notes in one part of the text that "the attribution to Madame Charpentier is not secure" and in another that it is "almost certainly the work of Constance Marie Charpentier".

Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, p. 389, fig. 701 (color).

Welt am Sonntag Magazin 29 (July 20, 1980), ill. on cover (color).

Rozsika Parker and Griselda Pollock. Old Mistresses: Women, Art and Ideology. New York, 1981, p. 106, fig. 60, consider it a prime example of "how the sex of the artist determines the way art is seen".

Georges Bernier in Consulat-Empire-Restauration: Art in early XIX Century France. Exh. cat., Wildenstein. New York, 1982, p. 90, notes that a group of works by Constance-Marie Charpentier are said to have come to light recently in the possession of her descendants.

Amy M. Fine. "Césarine Davin-Mirvault: 'Portrait of Bruni' and Other Works by a Student of David." Woman's Art Journal 4 (Spring/Summer 1983), p. 16.

Philip Jodidio. "Douze personnalités a New York." des Arts 420 (February 1987), pp. 51–52, ill. (on cover and in article).

Whitney Chadwick. Women, Art, and Society. London, 1990, pp. 22–24, fig. 7, cites it as a "revealing example of how expectations about gender color 'objective' viewing and its qualitative evaluations".

Marie-Claude Chaudonneret in The Dictionary of Art. 6, New York, 1996, p. 490, believes this may have been among Charpentier's portraits shown at the Salon of 1801; considers the picture to reflect the influence of Gérard and to be close in style to a portrait of "Mme Pagnière-Drölling" (St. Louis Art Museum).

Louise d'Argencourt. "The Story of a Painting: A Romance in Attribution." Cleveland Studies in the History of Art 1 (1996), pp. 116, 119, fig. 3.

Margaret A. Oppenheimer. "Women Artists in Paris, 1791–1814." PhD diss., Institute of Fine Arts, New York University, 1996, pp. 281, 309, fig. 259, attributes this picture to Villers.

Margaret A. Oppenheimer. "Nisa Villers, née Lemoine (1774–1821)." Gazette des beaux-arts 127 (April 1996), pp. 166, 170–72, 176, fig. 2, ascribes this picture to Nisa (Marie-Denise) Villers, a pupil of Girodet's who exhibited at least three pictures at the Salon of 1801, one of which may have been ours, listed as "plusieurs portraits peints, sous le même numero" (no. 338) by "N.V. M.me."; notes that the low forehead and heart-shaped face of the sitter here are not unlike those of Villers as she appears in a portrait by her sister, Marie-Victoire Lemoine (fig. 4), or the features of the young woman in "Étude de femme d'après nature" (Louvre, Paris); speculates that our picture might be the self-portrait described by the prize committee as "a woman painting" exhibited by Villers at the Salon of 1799, as popular works were often exhibited at more than one Salon; finds the window and building in the background close to those in a portrait by François Gerard, begun in 1799 ("Comtesse de Morel-Vindé and Her Daughter," Salon of 1800, Fine Arts Museum of San Francisco), "which was probably accessible to Nisa to copy from in that year".

Frances Borzello. Seeing Ourselves: Women's Self-Portraits. New York, 1998, pp. 86–87, ill., calls it the "putative Charpentier," which the author claims as a self-portrait in order to "compensate for the ones [self-portraits] that have been lost or reattributed".

Liana De Girolami Cheney, Alicia Craig Faxon, and Kathleen Lucey Russo. Self-Portraits by Women Painters. Aldershot, England, 2000, pp. 128–30, colorpl. XXIII, find Oppenheimer's identification of Nisa Villers as the artist the most convincing; suggest that the painting could also have been executed by Nisa's cousin Jeanne-Elisabeth Gabiou Chaudet—who exhibited a painting in the Salon of 1801 that included a broken window—or possibly even by David's pupil Charlotte du Val d'Ognes.

Britta C. Dwyer. "Book reviews [review of Ref. Borzello 1998]." Woman's Art Journal 23 (Spring–Summer 2002), p. 45.

Astrid Reuter. Marie-Guilhelmine Benoist: Gestaltungsräume einer Künstlerin um 1800. Berlin, 2002, pp. 229, 231–32, ill., notes that although Villers was not a pupil of David's, this picture exhibits the same precarious relationship to his style as many works by David's female pupils.

Gary Tinterow in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 2–3, 310–11, no. 1, ill. (black and white, and overall and detail in color).

Gary Tinterow in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 2, 18–19, 260, no. 1, ill. (overall and details, color and bw).

Old Master Paintings, European Sculpture & Antiquities. Sotheby's, New York. June 4, 2009, p. 98, ill., discusses it in relation to lot 66, a modello for Villers's painting, "A Young Woman Seated by a Window" (present location unknown), also exhibited at the Salon of 1801.