Georges Grappe. Edgar Degas. Berlin, , ill. p. 8, as "Vieille Femme".
P.-A Lemoisne. Degas. Paris, 1912, p. 22.
Paul Lafond. Degas. 2, Paris, 1919, p. 1, calls it "Femme à cheveux blancs".
Henri Hertz. Degas. Paris, 1920, p. 71, calls it "Vieille italienne" and describes it as stripped of anecdotal detail.
Julius Meier-Graefe. Degas. Munich, 1920, pp. 5–6, pl. 5 [English ed., 1923, p. 20, pl. V], calls it "Die Frau mit dem gelben Tuch" and considers it reminiscent of Poussin.
Henri Rivière. Les Dessins de Degas: Reproduits en fac-simile. Paris, 1922, unpaginated, under no. 1, states that Degas probably used the same model for a drawing of an old woman (now MMA 1980.200).
J. B. Manson. The Life and Work of Edgar Degas. London, 1927, p. 7, calls it "Old Woman with a Yellow Shawl".
Camille Mauclair. Degas. London, , p. 166, pl. 62, as "An Old Italian Woman," in a private collection.
Marguerite Rebatet. Degas. Paris, 1944, pl. 2.
P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint 1984]. Paris, [1946–49], vol. 1, p. 19; vol. 2, pp. 12–13, no. 29, ill., calls it "Vieille italienne (Femme au châle jaune)"; comments that this picture and "Roman Beggar Woman" of the same year (Birmingham City Museum and Art Gallery, Birmingham, England; L28) were the first "subjects" treated by Degas, who had previously painted landscapes and portraits; observes the influence of Ingres and mentions a related drawing (MMA 1980.200).
Robert Rey. Degas. Paris, 1952, pl. 4.
Pierre Cabanne. Edgar Degas. Paris, , pp. 19, 95, 101, no. 2, pl. 2 [English ed., 1958], calls it "La Vieille Italienne (La Femme au châle jaune)".
Phoebe Pool. Degas. London, 1963, p. 15, calls it "Old Italian Woman with a Yellow Shawl"; suggests that Degas may have followed the example of Victor Schnetz, director of the French Academy, who took young artists on expeditions to study Italian popular life.
Fiorella Minervino in L'opera completa di Degas. Milan, 1970, pp. 89–90, no. 70, ill., cites [Anna] Ottani Cavina's verbal opinion that this picture probably derives from a Ceruti painting.
Charles S. Moffett. Degas: Paintings in The Metropolitan Museum of Art. New York, 1979, pp. 5–6, 15 n. 3, colorpl. 3, relates it to seventeenth-century baroque realism, particularly images of beggars, peasants, and poor people in Rome, noting that Degas called himself a realist even when exhibiting with the Impressionists; cites Theodore Reff's observation that Corot influenced Degas's early genre subjects.
Keith Roberts. Degas. rev., enl. ed. [1st ed., 1976]. Oxford, 1982, unpaginated, under no. 2, calls the sitter's melancholic resignation reminiscent of Le Nain.
Henri Loyrette. Degas e l'Italia. Exh. cat., Villa Medici. [Rome], 1984, pp. 100, 116–19, no. 38, ill. (color), rejects the link between the MMA drawing (1980.200) and this painting, noting that the drawing is dated one year earlier, and that the pose and draperies are different; cites a 1982 letter by George T. M. Shackelford [in archive file] proposing that the drawing is instead directly related to Degas's painting "Woman with Ibises" (1861; private collection; L87); sees elements of genre and especially portraiture in our painting, in the tradition of Ceruti.
Renato Barilli in Il secondo '800 italiano: le poetiche del vero. Exh. cat., Palazzo Reale. Milan, 1988, ill. p. 21.
Henri Loyrette in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 49, 69–70, fig. 31.
Henri Loyrette. Degas. Paris, 1991, pp. 104–5.
Jean Sutherland Boggs in Degas Portraits. Exh. cat., Kunsthaus Zürich. London, 1994, p. 87.
Gary Tinterow in Maestà di Roma, da Napoleone all'unità d'Italia: D'Ingres à Degas, les artistes français à Rome. Exh. cat., Villa Medici, Rome. [Milan], 2003, pp. 436–37, no. 118, ill. pp. 265 (color) and 436.
Ann Dumas in Degas: classico e moderno. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2004, p. 47, fig. 3.
Colin B. Bailey in Masterpieces of Impressionism and Post-Impressionism: The Annenberg Collection. 4th rev. ed. [1st ed., 1989]. New York, 2009, pp. 24–25 n. 5.