Denis Diderot. Salon de 1765. Paris, 1765 [published in Ref. Seznec and Adhémar 1960, pp. 77–78, no. 9] (McWilliam 1991, no. 0172), describes this picture and its pendant (1982.60.45) in disparaging terms; claims that in his "Angelica and Medoro," Boucher has sacrificed truth to his subject to voluptuousness; suggests that the artist could learn from Lagrenée, whose works are exhibited nearby, stressing the latter's greater mastery of anatomy; finds Boucher's figures unconvincing and repetitive.
Paul Mantz. François Boucher, Lemoyne et Natoire. Paris, 1880, pp. 151–53, discusses Diderot's critique.
André Michel. F. Boucher. Paris, 1886, p. 122, explains that due to failing health Boucher had no new large-scale works to exhibit in 1765, and that the present picture and its pendant were borrowed from Bergeret de Grandcourt for the Salon.
L. Soullié in collaboration with Charles Masson in André Michel. Catalogue raisonné de l'oeuvre peint et dessiné de François Boucher. Paris, , p. 7, no. 75, p. 13, no. 182, list it twice: as no. 75, "Angélique et Médor" lent by Bergeret de Grandcourt to the Salon of 1765; and as no. 182, "Bacchus et Ariane," the pendant to "Jupiter et Calypso" in the catalogue of the 1790 Marin sale
André Michel. François Boucher. Paris, , p. 125.
Georges Pannier in Pierre de Nolhac. François Boucher, premier peintre du roi, 1703–1770. Paris, 1907, pp. 111, 125, lists it as "Bacchus et Ariane" no. 335 in the 1790 Marin sale, and as "Venus et Adonis" no. 11 in the 1851 Prousteau de Montlouis sale, sold with its pendant for Fr 3,250.
Pierre de Nolhac. François Boucher, premier peintre du roi, 1703–1770. Paris, 1907, p. 93.
Haldane Macfall. Boucher: The Man, His Times, His Art, and His Significance, 1703–1770. London, 1908, p. 71.
Denis Diderot. "1765." Salons. 2, Oxford, 1960, pp. 19–20, 77–78, 188, 252–253, recognize the picture and its pendant in a watercolor view of the Salon of 1765 by Gabriel de Saint-Aubin (Cabinet des dessins, Louvre, Paris)
Denys Sutton. France in the Eighteenth Century. Exh. cat., Royal Academy of Arts. London, 1968, p. 50.
Wallace Collection Catalogues: Pictures and Drawings. 16th ed. London, 1968, p. 37.
Alexandre Ananoff with the collaboration of Daniel Wildenstein. François Boucher. Lausanne, 1976, vol. 1, pp. 108–9, 111; vol. 2, pp. 228–29, no. 575, fig. 1553, note that the subject has often been erroneously identified as either Venus and Adonis or Bacchus and Ariadne; transcribe excerpts from Salon reviews in which the picture and its pendant are mentioned; state incorrectly that the picture was exhibited in London in 1872; reproduce an analoguous drawing, "Femme assise," from the sale of Madame D . . ., April 27, 1932, no. 32.
Rensselaer W. Lee. Names on Trees: Ariosto into Art. Princeton, 1977, pp. 57–58, 108 n. 124, fig. 38, questions the usual identification of the subject, remarking that the work is "iconographically impure and might best be called a conflation or perhaps a potpourri of Ariosto and Ovid"; observes that the initials carved on the tree, which appear to be M/A, might also be read as V/A, for Venus and Adonis.
Denis Diderot. "1765." Salons. 2, 2nd ed. Oxford, 1979, pp. 19–20, 77–78, 187–88.
Alexandre Ananoff with the collaboration of Daniel Wildenstein. L'opera completa di Boucher. Milan, 1980, p. 134, no. 606, ill.
Else Marie Bukdahl. "Théorie et pratique dans les Salons de Diderot." Diderot: Critique d'art. 1, Copenhagen, 1980, pp. 55, 259 n. 17, fig. 4.
John Ingamells. Letter to Katharine Baetjer. December 8, 1983, discusses the provenance.
Georges Brunel in Diderot & l'art de Boucher à David, les Salons: 1759–1781. Exh. cat., Hôtel de la Monnaie. Paris, 1984, p. 103, cites Diderot's critique, in contrast to his praise for four small pastorals by Boucher exhibited in the same year, among them "Dispatch of the Messenger" (44.141).
Katharine Baetjer in The Jack and Belle Linsky Collection in The Metropolitan Museum of Art. New York, 1984, pp. 121–25, no. 47, ill. (color), remarks that the frames may be the ones mentioned in the catalogue of the 1851 sale of Prousteau de Montlouis as "leurs bordures du temps".
Alastair Laing in François Boucher, 1703–1770. Exh. cat., The Metropolitan Museum of Art. New York, 1986, p. 34.
Laurence Marie. "La scène de genre dans les 'Salons' de Diderot." Labyrinthe 3, no. 3 (1999), pp. 8, 12 (http://labyrinthe.revues.org/64).
René Démoris. "Boucher, Diderot, Rousseau." Rethinking Boucher. Los Angeles, 2006, pp. 209–10, 223 n. 59, colorpl. 14, as an indication of Diderot's uneasiness before the female nude reports his 1765 Salon commentary for this picture.
Béatrice Didier. "Le dialogue des arts dans les Salons de Diderot." Revue Silène: Centre de recherches en littérature et poétique comparées de Paris Ouest-Nanterre-La Défense (October 27, 2008), p. 5 (http://revue-silene.com/f/index.php?sp=liv&livre_id=119).