Maurice Hermel. "L'Exposition de peinture de la rue Laffitte." La France libre (May 27, 1886), p. 2 [reprinted in Ref. Berson 1996, p. 455].
Gustave Geffroy. "Salon de 1886: VIII. Hors du Salon: Les Impressionnistes." La Justice (May 26, 1886) [reprinted in Ref. Berson 1996, p. 452].
Félix Fénéon. "Les Impressionnistes." La Vogue (June 13–20, 1886), p. 262 [reprinted in Ref. Berson 1996, p. 441].
Octave Mirbeau. "Exposition de peinture (1, rue Laffitte)." La France (May 21, 1886), p. 1 [reprinted in Ref. Berson 1996, p. 465], describes this bather as possessing the beauty and force of a gothic statue.
[Octave Maus]. "Les Vingtistes parisiens." L'Art moderne [Brussels] (June 27, 1886), pp. 201–4 [reprinted in Ref. Berson 1996, p. 463].
J.-K. Huysmans. Certains. Paris, 1889, p. 24.
Mary Cassatt. Letter to Mrs. H. O. Havemeyer. December 28,  [published in Nancy Mowll Mathews, ed., "Cassatt and Her Circle, Selected Letters," New York, 1984, p. 330], offers to sell Mrs. Havemeyer three works by Degas [this pastel, a fan (29.100.555), and a portrait (29.100.183)] for $20,000.
H. O. Havemeyer Collection: Catalogue of Paintings, Prints, Sculpture and Objects of Art. n.p., 1931, p. 132, as "Nude - Femme s'essuyant".
Louise Burroughs. "Degas in the Havemeyer Collection." Metropolitan Museum of Art Bulletin 27 (May 1932), p. 145.
P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint 1984]. Paris, [1946–49], vol. 3, pp. 466–67, no. 816, ill., as "Femme au tub".
Ronald Pickvance. Letter to Margaretta M. Salinger. August 3, 1963, doubts its inclusion in the 1886 Impressionist exhibition.
Ronald Pickvance. Letter to Mary Ann W. Harris. June 14, 1964, remarks that Fénéon's description [Ref. Fénéon 1886] "can only apply" to this pastel.
Félix Fénéon. Au-delà de l'impressionnisme. Paris, 1966, pp. 58–59.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, p. 88, ill., as "Woman Bathing in a Shallow Tub".
Fiorella Minervino in L'opera completa di Degas. Milan, 1970, p. 127, no. 911, ill.
Charles S. Moffett. Degas: Paintings in The Metropolitan Museum of Art. New York, 1979, p. 13, colorpl. 29.
Roy McMullen. Degas: His Life, Times, and Work. Boston, 1984, p. 377.
Charles F. Stuckey in Degas: Form and Space. Ed. Maurice Guillaud. Exh. cat., Centre Culturel du Marais. Paris, 1984, p. 46, fig. 123 (color).
Geneviève Monnier. Pastels du XIXe siècle: Musée du Louvre, Cabinet des dessins; Musée d'Orsay. Paris, 1985, p. 68, under no. 59.
Frances Weitzenhoffer. The Havemeyers: Impressionism Comes to America. New York, 1986, pp. 238, 255, pl. 158, describes Cassatt's sale of this pastel to Mrs. Havemeyer.
Richard Thomson. "Degas's Nudes at the 1886 Impressionist Exhibition." Gazette des beaux-arts, 6th ser., 108 (November 1986), p. 188, fig. 1, identifies it among the Suite de nuds [sic] in the 1886 Impressionist exhibition, based on descriptions in contemporary reviews [see Refs. Geffroy 1886 and Fénéon 1886].
Martha Ward in The New Painting: Impressionism 1874–1886. Ed. Charles S. Moffett. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, pp. 430–34, 443.
Gary Tinterow in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 324, 367, 372, 380, 385, 443–44, 446–48, 451, 472, no. 269, ill. (color), calls it the "sketchiest, most difficult, and least commercial of the suite of nudes" and suggests that its unconventionality "may have been intended as a deliberately anticlassical—hence modern—statement".
Richard Thomson. Degas: The Nudes. London, 1988, pp. 130–31, 134, 139, 142–43, 146, fig. 121, colorpl. 149, discusses the critical reception of the bather images shown in the 1886 Impressionist exhibition, noting that "the critics were contradictory, uncertain or ambivalent about the identity of the women".
Gary Tinterow and Anne Norton. "Degas aux expositions impressionnistes." Degas inédit: Actes du Colloque Degas. Paris, 1989, p. 349, note that it was definitely shown in the 1886 Impressionist exhibition, but that it is not possible to identify the catalogue number.
Richard Thomson. "Les poses chez Degas de 1875 à 1886: lecture et signification." Degas inédit: Actes du Colloque Degas. Paris, 1989, pp. 220–21.
Carol Armstrong. Odd Man Out: Readings of the Work and Reputation of Edgar Degas. Chicago, 1991, pp. 159, 182, fig. 92.
Jean Sutherland Boggs and Anne Maheux. Degas Pastels. New York, 1992, pp. 112, 182, identify it as no. 24 in the 1886 Impressionist exhibition.
Richard Kendall. "Signs and Non-Signs: Degas' Changing Strategies of Representation." Dealing with Degas: Representations of Women and the Politics of Vision. Ed. Richard Kendall and Griselda Pollock. London, 1992, pp. 195–98, calls the bather pastels in the 1886 Impressionist exhibition "remarkable for their lack of socially specific or pictorially informative detail".
Heather Dawkins. "Managing Degas." Dealing with Degas: Representations of Women and the Politics of Vision. Ed. Richard Kendall and Griselda Pollock. London, 1992, p. 143.
Anthea Callen. "Degas' "Bathers": Hygiene and Dirt—Gaze and Touch." Dealing with Degas: Representations of Women and the Politics of Vision. Ed. Richard Kendall and Griselda Pollock. London, 1992, pp. 166–70, fig. 38, discusses the multiple viewpoints in this picture, reading the lower vantage point of the body as feminine and the higher position of the setting as masculine.
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. 257, 337 n. 376, p. 339 n. 389, p. 341 n. 420, p. 342 n. 429.
Susan Alyson Stein in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 273–74, 278, pl. 271.
Gretchen Wold in Splendid Legacy: The Havemeyer Collection. Exh. cat., The Metropolitan Museum of Art. New York, 1993, pp. 331, 335, no. A239, ill. p. 334.
Anthea Callen. The Spectacular Body: Science, Method and Meaning in the Work of Degas. New Haven, 1995, pp. 29, 31, 155, pl. 22, as "Femme au tub".
Richard Kendall. Degas, Beyond Impressionism. Exh. cat., National Gallery. London, 1996, pp. 59, 142–43, 155, fig. 58 (color), discusses the lack of narrative and male figures in Degas's late bather pictures; mentions this pastel among nude images that were owned by women collectors, for whom "voyeurism was hardly their principal concern".
Ruth Berson, ed. "Documentation: Volume I, Reviews and Volume II, Exhibited Works." The New Painting: Impressionism 1874–1886. San Francisco, 1996, vol. 2, pp. 240–41, no. VIII-21, ill. p. 259, identifies it as no. 21 in the 1886 Impressionist exhibition.
Ann Dumas in The Private Collection of Edgar Degas. Exh. cat., The Metropolitan Museum of Art. New York, 1997, p. 9.
Charles Harrison. Painting the Difference: Sex and Spectator in Modern Art. Chicago, 2005, p. 129.
Jane Kinsman. Degas: The Uncontested Master. Exh. cat., National Gallery of Australia. Canberra, 2008, pp. 177, 179 n. 11.
George T. M. Shackelford in Museum of Fine Arts, Boston. Degas and the Nude. Exh. cat.Boston, 2011, pp. 137, 139–41, 210, 213, 226, fig. 146 (color) [French ed., "Degas et le nu," Paris, 2012, pp. 164, 169, 234, 244, 270, fig. 156 (color)], observes that this is the least finished pastel Degas included in the 1886 Impressionist exhibition; compares it to Manet's "The Tub" (Musée d'Orsay, Paris); states that, together with two other works (Hill-Stead Museum, Farmington, Connecticut, and Hiroshima Museum of Art), the same pose is shown from multiple vantage points, as in studies for the "Little Fourteen-Year-Old Dancer"; states that Degas quoted this figure in "The Bathers" (Art Institute of Chicago).