Gustave Courbet. Letter to Jules Luquet. 1864 [published in P. D. Chu., ed., "Letters of Gustave Courbet," Chicago, 1992, p. 243], describes painting four versions of the source of the Loue, each about 140 cm wide.
Gustave Courbet. Letter to Étienne Baudry. June 2, 1875 [English transl. published in P. D. Chu, ed., "Letters of Gustave Courbet," Chicago, 1992, no. 75-11, p. 551], lists it among the paintings he recalls being stored at the Durand-Ruel gallery.
Georges Riat. Gustave Courbet peintre. Paris, 1906, pp. 217, 253, 386, ill. p. 97, as formerly in the Gérard collection; cites Ref. Courbet 1864, and lists one of the versions in the 1867 exhibition.
Charles Léger. Courbet. Paris, 1929, p. 106.
Frank Jewett Mather Jr. "The Havemeyer Pictures." The Arts 16 (March 1930), p. 477, ill. p. 445.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, pp. 86–87, ill., calls it "Landscape—La source de la Loue" and dates it about 1864.
W. Wartmann. "Die Grotte der Loue." Zürcher Kunstgesellschaft (1946), p. 33, pl. 8a, compares the various versions of the subject.
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. New York, 1961, p. 194.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, p. 122, ill.
Robert Fernier. La vie et l'oeuvre de Gustave Courbet. Vol. 1, Peintures, 1819–1865. Lausanne, 1977, p. 216, no. 387, ill. p. 217, dates it 1864.
Pierre Courthion. L'opera completa di Courbet. Milan, 1985, p. 94, no. 368, ill., calls it "La sorgente della Loue".
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 117, 257, pl. 72, notes that in 1897 Durand-Ruel had recently secured this painting for the Havemeyers.
Ann Dumas in Sarah Faunce and Linda Nochlin. Courbet Reconsidered. Exh. cat., Brooklyn Museum. Brooklyn, 1988, pp. 153, 189, identifies the other three versions of the source of the Loue in the Albright-Knox Art Gallery, Buffalo, the National Gallery of Art, Washington, and the Hamburger Kunsthalle.
Douglas E. Edelson et al. in Courbet Reconsidered. Exh. cat., Brooklyn Museum. Brooklyn, 1988, pp. 74, 85.
Jean-Luc Mayaud in "Courbet à découvert." Courbet et Ornans. Paris, 1989, p. 87, ill. p. 93 (color).
Klaus Herding. Courbet: To Venture Independence. New Haven, 1991, pp. 137–38, 245 n. 12, cites the source of the Loue series as an example of Courbet's dematerialization of the image through loosely painted structure.
Louisine W. Havemeyer. Sixteen to Sixty: Memoirs of a Collector. Ed. Susan Alyson Stein. 3rd ed. [1st ed. 1930, repr. 1961]. New York, 1993, pp. 186, 194, 329 n. 259, p. 330 n. 272, p. 342 n. 425.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 210.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, p. 315, no. A140, ill. p. 314, adds early provenance information.
Anthony Bond, Sarah Faunce, Suzannah Biernoff, Caroline Butler-Bowdon in Body. Ed. Anthony Bond. Exh. cat., Art Gallery of New South Wales, Sydney. Melbourne, 1997, pp. 22, 24, 79 n. 16, pp. 105, 173, no. 34, fig. 17, date it about 1865.
Gustave Courbet et la Franche-Comté. Exh. cat., Besançon, Musée des Beaux-Arts et d'Archéologie. Paris, 2000, p. 112, no. 62, ill (color), dates it between 1863 and 1864.
Valérie Bajou. Courbet. Paris, 2003, pp. 247–49, 415 n. 49, ill. (color).
Charlotte Eyerman in Mary Morton and Charlotte Eyerman. Courbet and the Modern Landscape. Exh. cat., J. Paul Getty Museum. Los Angeles, 2006, pp. 82–83, 135, no. 23, colorpl. 23.
Kathryn Galitz 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. 46, 200, no. 26, ill. (color and black and white).
Linda Nochlin. Courbet. New York, 2007, p. 196, fig. 87, calls it "Grotto of the Loue".
Charles Stuckey in The Repeating Image: Multiples in French Painting from David to Matisse. Ed. Eik Kahng. Exh. cat., Walters Art Museum. Baltimore, 2007, pp. 97, 107.
19th Century European Paintings. Sotheby's, London. May 30, 2008, p. 254, under no. 321, fig. 1 (color), identifies lot no. 321 as the study for this painting.
Laurence des Cars in Gustave Courbet. Exh. cat., The Metropolitan Museum of Art, New York. New York, 2008, pp. 263, 266–68, no. 111, ill. (color) [French ed., Paris, 2007], calls the "Source of the Loue" series "the most personal of Courbet's responses to Ingres".
Klaus Herding in Courbet: A Dream of Modern Art. Ed. Klaus Herding and Max Hollein. Exh. cat., Schirn Kunsthalle Frankfurt. Ostfildern, 2010, p. 214, under no. 60.