Charles Blanc. Le trésor de la curiosité. 2, Paris, 1858, pp. 14, 126, attributes this painting to Jacques Blanchard.
Charles Blanc. Histoire des peintres de toutes les écoles: École française. 1, Paris, 1862, ill. p. 55 (engraving by Gagniet and Guillaume).
Louis Demonts. "Deux peintres de la première moitié du XVIIe siècle: Jacques Blanchard et Charles-Alphonse Dufresnoy." Gazette des beaux-arts, 5th ser., 12 (1925), p. 166, ill. opp. p. 164.
Louis Dimier. Histoire de la peinture française du retour de Vouet à la mort de Lebrun, 1627 à 1690. 1, Paris, 1926, p. 39, pl. XXVIII.
Werner Weisbach. Französische Malerei des XVII. Jahrhunderts. Berlin, 1932, pp. 58, 360 nn. 17, 18, pl. 6, recognizes the subject of the picture and cites the engraving made by Lainé in 1771.
W. R. Valentiner. "Portraits by Jacques Blanchard." Bulletin of the Detroit Institute of Arts 16 (March 1937), p. 101.
Charles Sterling. La peinture française au XVII siècle. 1937, pl. 45.
Charles Sterling in Chefs d'œuvre de l'art français. Exh. cat., Palais National des Arts. Paris, 1937, p. 35, no. 62.
Anthony Blunt. Art and Architecture in France, 1500 to 1700. Baltimore, 1953, p. 171, calls it probably earlier than Charity (Duke of Richmond and Gordon collection) and more mannerist, relying on Tintoretto for its composition and on Paul Brill for the handling of the trees.
Émile Dacier. "Catalogues de ventes et livrets de salons illustrés et annotés par Gabriel de Saint-Aubin, 12: Catalogue de la vente Verrier (1776)." Gazette des beaux-arts, 6th ser., 41 (May–June 1953), p. 325, reproduces pages from Saint-Aubin's copy of the catalogue of the Verrier sale, including (p. 314) his thumbnail sketch of no. 58, sold as Angélique & Medor by Laurent de la Hire, the composition of which corresponds closely to that of the MMA picture.
Charles Sterling. "XV–XVIII Centuries." The Metropolitan Museum of Art: A Catalogue of French Paintings. 1, Cambridge, Mass., 1955, pp. 63–65, ill., states that the attribution to Blanchard is confirmed by two 18th-century engravings of the picture both bearing his name, one made by Lainé in 1771, the other by Voyez, from 1780; dates it about 1628–30, soon after Blanchard's return from Italy, noting its affinity with the School of Fontainebleau and Venetian art; comments on the physical history of the picture [see Notes] and adds that there is a good 17th-century copy in the collection of the Earl of Mount Edgecumbe in England.
Michael Thomas. "The Problems of the Splendid Century." Metropolitan Museum of Art Bulletin 19 (April 1961), p. 227, ill. p. 225.
Charles Sterling. "Les peintres Jean et Jacques Blanchard." Art de France 1 (1961), pp. 89, 110, no. 35, ill., retracts his earlier dating [see Ref. 1955], stating that the decorative character of this picture and of the Louvre's "Venus and the Graces surprised by a Mortal" must have been close to the lost compositions for the galleries of the Barbier and Bullion mansions; on this basis, dates both our picture and the Louvre's around 1631–33.
Albert Châtelet and Jacques Thuillier. French Painting from Fouquet to Poussin. Geneva, 1963, p. 206, ill. p. 204.
Georg Poensgen. "Herkules und Omphale: Zu einem neu erworbenen Gemälde des Kurpfälzischen Museums." Bibliotheca docet: Festgabe für Carl Wehmer. Amsterdam, 1963, fig. 2 [see Ref. Thuillier 1998].
Guillaume Janneau. La peinture française au XVIIe siècle. Geneva, 1965, pp. 54, 400 n. 363.
Margaretta M. Salinger. French Painting: The Seventeenth Century. New York, 1965, pp. 16, 35, no. 2, ill. (color slide in folder attached to front cover), notes that both the subject matter and style of this picture originate in Italy, where Blanchard went to study art; mentions that the replica in England [collection of the Earl of Mount Edgecumbe] has an inscription on the tree trunk, showing the first letters of the name Medor, which confirms the identification of the subject.
François Gebelin. L'époque Henri IV et Louis XIII. Paris, 1969, p. 84, pl. 29.
A. Pigler. Barockthemen: Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts. 2nd ed. [first ed. 1956]. Budapest, 1974, vol. 2, p. 464, includes it in a list of works illustrating the story of Angelica and Medoro.
Rensselaer W. Lee. Names on Trees: Ariosto into Art. Princeton, 1977, pp. 46–47, ill.
Arnauld Brejon de Lavergnée and Bernard Dorival. Baroque et classicisme au XVIIe siècle en Italie et en France. Geneva, 1979, p. 225.
Howard Hibbard. The Metropolitan Museum of Art. New York, 1980, pp. 311, 324, fig. 555 (color).
Pierre Rosenberg. France in the Golden Age: Seventeenth-century French Paintings in American Collections. Exh. cat., The Metropolitan Museum of Art. 1982, pp. 27, 104, 223–24, 345, no. 4, ill. pp. 110, 224 [French ed., La peinture française du XVIIe siècle dans les collections américaines, Paris, 1982], dates the picture about 1634–35 and tentatively proposes that it was in the collections of the sculptor Edme Bouchardon and of Verrier.
Pierre Rosenberg. "France in the Golden Age: A Postscript." Metropolitan Museum Journal 17 (1984), p. 25 n. 11, p. 26, no. 4, notes that another copy of this picture has appeared, in a private collection in Lebanon.
Christopher Wright. The French Painters of the Seventeenth Century. Boston, 1985, p. 144.
Michel Hilaire in Grand siècle: Peintures françaises du XVIIe siècle dans les collections publiques françaises. Exh. cat., Musée des Beaux-Arts de Montréal. Paris, 1993, p. 206 [see Ref. Thuillier 1998].
Alain Mérot. La peinture française au XVIIe siècle. Paris, 1994, p. 98.
Jacques Thuillier. Jacques Blanchard, 1600–1638. Exh. cat., Musée des Beaux-Arts de Rennes. Rennes, 1998, pp. 189–93, no. 57, ill. in color (overall and detail), suggests this could be the picture of Angelica and Medoro by Blanchard listed in the posthumous inventory of Philippe Vignon in 1701 [see ex coll.].
Importanti dipinti di antichi maestri. San Marco, Venice. March 25, 2006, p. 190, under no.62, in relation to the replica offered for sale, remarks that "the pictorial surface [of the MMA work]] is worn-out".