Alfred Robaut. L'Œuvre de Corot: Catalogue raisonné et illustré. [reprint 1965]. Paris, 1905, vol. 3, pp. 292–93, no. 2130, ill., calls it "Sibylle" and dates it about 1870.
Julius Meier-Graefe. Camille Corot. 3rd ed. Munich, 1913, ill. p. 153, calls it "Italienerin".
August F. Jaccaci. "Figure Pieces of Corot in America: II." Art in America 2 (December 1913), p. 5, mentions its similarity to another figure in an interior, "Jeune Grecque" (R1995; Shelburne Museum, Vermont).
Étienne Moreau-Nélaton. Corot raconté par lui-même. 2nd rev. ed. (1st ed., 1905). Paris, 1924, vol. 1, p. 115, fig. 143, calls it "Italienne de Montparnasse" and dates it about 1855 or 1860.
Arsène Alexandre. "La Collection Havemeyer: Courbet et Corot." La Renaissance 12 (June 1929), p. 281, ill. p. 277, as "Italienne".
"Havemeyer Collection at Metropolitan Museum: Havemeyers Paid Small Sums for Masterpieces." Art News 28 (March 15, 1930), ill. p. 37, as "The Sibyl".
C. Bernheim de Villers. Corot: Peintre de figures. Paris, 1930, p. 62, no. 303, ill.
Julius Meier-Graefe. Corot. Berlin, 1930, p. 102, pl. CXXVIII, dates it 1870; notes that the same model posed for "L'Italienne (Woman with a Yellow Sleeve" (R1583; former Niarchos collection, sold Christie's, New York, May 9, 2001, no. 7).
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 64–65, ill., calls it "Figure Piece—The Sibyl"; describes the costume as Italian.
David Rosen and Henri Marceau. "A Study in the Use of Photographs in the Identification of Paintings." Technical Studies in the Field of the Fine Arts 6 (October 1937), p. 86, figs. 16–17.
François Fosca. Corot, sa vie et son oeuvre. Brussels, 1958, pp. 138, 145, calls it "L'Italienne".
The Metropolitan Museum of Art. The H. O. Havemeyer Collection. 2nd ed. New York, 1958, p. 15, no. 77, ill., notes that Corot never finished or signed this painting; remarks that the model recalls Raphael.
Sylvie Béguin in Figures de Corot. Exh. cat., Musée du Louvre. Paris, 1962, pp. 150, 160–61, 172, 182, no. 69, ill., states that the title "Sibylle" derives from the name given to the model by Corot; places it within the series of half-length figures of women painted between 1865 and 1872, supporting the date of 1870.
Denys Sutton. "The Significance of Corot." Apollo 77 (September 1962), p. 508, fig. 1.
Charles Sterling and Margaretta M. Salinger. "XIX Century." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 2, New York, 1966, pp. 65–67, ill., compare it to "Woman with a Yellow Sleeve" (R1583, former Niarchos collection).
Edith A. Standen in Masterpieces of Painting in The Metropolitan Museum of Art. Exh. cat., Museum of Fine Arts, Boston. New York, , p. 76, ill. (color), remarks that there is nothing to indicate that this subject is either a Greek or Roman sibyl.
Madeleine Hours. Jean-Baptiste-Camille Corot. New York, , pp. 152–53, ill. (color), calls it "The Sibyl"; states that she is dressed in a fanciful costume, possibly theatrical, whose colors were "a pretext for introducing unexpected colors into a Parisian setting".
Germain Bazin. Corot. 3rd rev. ed. (1st ed., 1942; 2nd ed., 1951). Paris, 1973, pp. 65, 272.
Anthony F. Janson. "Corot: Tradition and the Muse." Art Quarterly, n.s., 1, no. 4 (1978), pp. 308–10, 313, fig. 8, analyzes the title, using previous images of Flora, sibyls, and muses as comparisons; remarks that Corot's ambivalence about the intended meaning of the subject matter prevented him from completing this picture; notes the correspondence with "Self-Portrait with a Palette" (R370, Uffizi, Florence) and posits psychological explanations for Corot's projection of his features onto women's faces
Antje Zimmermann. "Studien zum Figurenbild bei Corot." PhD diss., Universität Köln, 1986, p. 127 n. 10, pp. 171–73, 177, 293 n. 68, p. 377, fig. 164, suggests similarities to three drawings by Corot from the 1850s (Cabinet des Dessins, Musée du Louvre, Paris; R3076, R3049, R3038).
Fronia E. Wissman. "Corot's Salon Paintings: Sources from French Classicism to Contemporary Theater Design." PhD diss., Yale University, 1989, vol. 1, p. 127 n. 10, in a discussion of Corot's sketches of female spectators, hints at connections to the theater in the late paintings of women; cites this work as an example of a figure whose heavy body envelops her faraway thoughts.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 233, 286.
Gary Tinterow in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 21, colorpl. 18, dates it about 1870; calls it "a great, late, unfinished studio piece in which the painter almost achieves the poise and balance of a Raphael".
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 310–11, no. A114, ill. p. 309.
Iain Gale. Corot. London, 1994, pp. 124–25, 144, no. 125, ill. (color), calls it "The Sibyl" and discusses the meaning of the title.
Michael Pantazzi in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, p. 406 [French ed., "Corot 1796–1875," Paris, 1996, p. 471].
Gary Tinterow in Corot. Exh. cat., The Metropolitan Museum of Art. New York, 1996, p. xv n. 9, pp. 324, 332–36, 354, no. 142, ill. (color), fig. 148 [French ed., "Corot, 1796–1875," Paris, 1996, pp. 386, 394–95, 396 n. 1, 414, ill. p. 395 (color)], dates it about 1870–73; identifies the model as Agostina, known as "l'Italienne de Montparnasse" [see Ref. Moreau-Nélaton 1924], who also appears in "The Artist's Studio" (R1561; Musée des Beaux-Arts, Lyons) and "Agostina" (R1562; National Gallery of Art, Washington); relates it to Raphael's "Portrait of Bindo Altoviti" (National Gallery of Art, Washington), noting the accessibility of Italian Renaissance paintings to Corot through prints; suggests that since the model held a cello in the first stages of the work, the original subject was Polymnia, muse of music; discusses the discovery of a seated nude underneath the painting; writes that in his unpublished notes, Robaut recorded a drawing of a woman writing at a table on the back of the canvas.
Michael Kimmelman. "Searching Endless Landscapes for the Real Corot." New York Times (November 1, 1996), p. C28.
François Fossier et al. "Corot." Connaissance des arts [special exhibition issue for "Corot, 1796–1875"] (1996), p. 60, fig. 55 (color).
Gary Tinterow in La collection Havemeyer: Quand l'Amérique découvrait l'impressionnisme. Exh. cat., Musée d'Orsay. Paris, 1997, pp. 19, 42–43, 104, no. 10, ill. (color).
Impressionist and Modern Art (Evening Sale). Christie's, New York. May 9, 2001, p. 33, under no. 7, fig. 2.
Vincent Pomarède in Corot: Naturaleza, Emoción, Recuerdo. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2005, pp. 250, 387, no. 65, ill. p. 264 (color).
Michael Clarke in Corot: Naturaleza, Emoción, Recuerdo. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2005, pp. 30, 333.
Anne Roquebert in Corot: Naturaleza, Emoción, Recuerdo. Exh. cat., Museo Thyssen-Bornemisza. Madrid, 2005, pp. 63, 66, 344–45, fig. D.3 (radiograph).
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. 32–33, 197–98, no. 13, ill. (color and black and white).
Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 36–37, 230–31, no. 34, ill. (color and black and white).