"La vente Degas." La Renaissance de l'art français et des industries de luxe no. 4 (June 1918), p. 146, lists it as "Portrait de Tissot dans son atelier," sold to Hessel for Fr 25,700.
Paul Lafond. Degas. Vol. 2, Paris, 1919, p. 15, identifies the sitter as the painter Finot, and erroneously states that it was exhibited at the 4th Impressionist exhibition of 1879.
Henri Rivière. Les Dessins de Degas: Reproduits en fac-simile. Paris, 1922, unpaginated, under no. 4, reproduces the drawing for this painting (Fogg Art Museum, Cambridge, Mass.) as "Le peintre J.-J. Tissot".
Royal Cortissoz. Personalities in Art. New York, 1925, ill. opp. p. 222, as "Portrait of a Man in the Studio of an Artist".
"Lewisohn Buys Van Gogh's Famous 'Arlesienne'." Art News 24 (March 27, 1926), p. 1.
Stephan Bourgeois. The Adolph Lewisohn Collection of Modern French Paintings and Sculptures. New York, 1928, pp. 95, 98–99, ill., calls it "Portrait of Jules Finot" and dates it 1868; identifies the portrait in the background as Albert of Saxony by Lucas Cranach.
Edith von Térey. "Die Sammlung Adolph Lewisohn, New York." Kunst und Künstler 27 (August 1929), p. 417, ill. p. 421, calls it "Im Atelier" and identifies the sitter as Finot.
Stephan Bourgeois and Waldemar George. "The French Paintings of the XIXth and XXth Centuries in the Adolph and Samuel Lewisohn Collection." Formes nos. 28–29 (1932), pp. 301, 304, ill. between pp. 302 and 303, as "Portrait of Jules Finot".
James Laver. "Vulgar Society": The Romantic Career of James Tissot, 1836–1902. London, 1936, pp. 11–13, identifies the sitter as Tissot, citing the drawing now in the Fogg Art Museum and the sketches of the head (private collection); suggests that Degas "suppressed the name of his sitter because of his subsequent quarrel with Tissot".
Sam A. Lewisohn. Painters and Personality: A Collector's View of Modern Art. [New York], 1937, pl. 127, calls it "Jules Finot".
Alfred M. Frankfurter. "Twenty Important Pictures by Degas." Art News 35 (March 27, 1937), pp. 13, 24, ill. p. 15.
"Degas, Romanticist, Who 'Fell in Love With the Law of Balance'." Art Digest 11 (April 1, 1937), p. 7.
Agnes Mongan. "Degas as Seen in American Collections." Burlington Magazine 72 (June 1938), p. 296, pl. IA, as "Jules Finot".
R. H. Wilenski. Modern French Painters. New York, , p. 52, calls it "Baron Jules Finot".
John Rewald. Edgar Degas. Mulhouse, France, [194_?], fig. 21, calls it "Portrait du peintre James Tissot" and dates it 1867–70.
Agnes Mongan and Paul J. Sachs. Drawings in the Fogg Museum of Art. Cambridge, Mass., 1940, vol. 1, p. 359, under no. 668.
Louise Burroughs. "A Portrait of James Tissot by Degas." Metropolitan Museum of Art Bulletin 36 (February 1941), pp. 35–38, ill. on cover, cites several drawings of Tissot by Degas which, together with Tissot's own self-portraits and photographs, "leave little doubt" that he is the subject of this picture; dates it approximately 1868 based on the drawings, the dates of the friendship between the two men, and comparisons with other Degas portraits.
Denis Rouart. Degas à la recherche de sa technique. Paris, 1945, pp. 51, 73 n. 73 [English ed., 1988, p. 86, ill. p. 87 (color)], states that Degas retouched this picture, first rubbing parts of the canvas with copal in oil.
Jacques Lassaigne. Edgar Degas. Paris, 1945, ill. p. 30, dates it about 1868.
Camille Mauclair. Edgar Degas. New York, 1945, unpaginated, ill.
John Rewald. The History of Impressionism. New York, 1946, ill. p. 155, dates it about 1868.
P[aul]. A[ndré]. Lemoisne. Degas et son œuvre. [reprint 1984]. Paris, [1946–49], vol. 1, pp. 56, 239 n. 117; vol. 2, pp. 90–91, no. 175, ill., calls it "James Tissot dans un atelier d'artiste" and dates it 1868; notes that the three drawings in the third atelier sale were called studies for the portrait of Tissot and that the sitter in the painting resembles contemporary photographs of Tissot.
Lillian Browse. Degas Dancers. New York, , p. 21.
Meyer Schapiro. Vincent van Gogh. New York, 1950, p. 44, mentions it as an example of portraits depicting figures among objects of art, such as Manet's portrait of Emile Zola (1868; Musée d'Orsay, Paris) and Van Gogh's "Père Tanguy" (1887; Musée Rodin, Paris).
Theodore Rousseau Jr. "A Guide to the Picture Galleries." Metropolitan Museum of Art Bulletin 12, part 2 (January 1954), p. 7, ill. p. 50.
Bernard Berenson. Piero della Francesca or the Ineloquent in Art. New York, 1954, p. 36, pl. 44, calls this a portrait "reduced to mere 'genre'".
Jean Sutherland Boggs. "Degas Notebooks at the Bibliothèque Nationale III: Group C (1863–1886)." Burlington Magazine 100 (July 1958), p. 243, records a study for this painting in a Degas notebook she date 1866 (Bibliothèque Nationale, Paris, Nb 22, p. 31) and mentions similar studies in another notebook dated 1866 (private collection, Paris; now Bibliothèque Nationale, Paris, Nb 21, p. 6v) [see Ref. Reff 1976, Notebooks].
Jakob Rosenberg. Great Draughtsmen from Pisanello to Picasso. Cambridge, Mass., 1959, p. 109.
John Rewald. The History of Impressionism. rev., enl. ed. New York, 1961, p. 207, ill. p. 176.
Jean Sutherland Boggs. Portraits by Degas. Berkeley, 1962, pp. 23, 32, 57, 59, 131, pl. 46, calls it "James Tissot" and dates it 1866; remarks that for Degas "portraiture was a concentration upon the individual and expressive character of the human body through which the lassitude, even the slight anxiety, of a man like Tissot could be revealed"; compares this picture to Manet's "Portrait of Emile Zola" (Musée d'Orsay, Paris).
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, pp. 62–64, ill., call it "Jacques Joseph Tissot" and identify the framed picture behind Tissot as a portrait of Frederick the Wise, Elector of Saxony, by Cranach.
Theodore Reff. "Pissarro's Portrait of Cézanne." Burlington Magazine 109 (November 1967), p. 628.
Margaretta M. Salinger. "Windows Open to Nature." Metropolitan Museum of Art Bulletin 27 (Summer 1968), unpaginated, ill.
Theodore Reff. "The Pictures within Degas's Pictures." Metropolitan Museum Journal 1 (1968), pp. 125, 127, 131, 133–40, 150, 152 n. 97, pp. 161–62, 164–66, figs. 10, 11, 13, 15, 17 (overall and details), discusses the paintings in the background as completely invented yet "equally indicative of interests shared by Degas and Tissot": a copy after a Cranach portrait (Musée du Louvre, Paris), a Western depiction of Japanese women in a garden, two contemporary landscapes, one similar to Tissot's "Déjeuner sur l'Herbe" (about 1865; Private collection), and a "Finding of Moses" reminiscent of seventeenth century Venetian painting; calls these pictures assertions of the "relevance for modern art of several distinctly opposed tendencies" that convey the "ideal of sophistication and self-awareness which [Degas] has also expressed in personal terms in his image of the artist as a dandy"; notes that this picture was too early to have been included in the 1879 Impressionist exhibition [see Ref. Lafond 1919].
Eugenia Parry Janis. "Tissot Retrospective." Burlington Magazine 110 (May 1968), p. 303.
Henri Zerner. "The Return of 'James' Tissot." Art News 67 (March 1968), p. 33, ill.
Ronald Pickvance. Degas: Pastels and Drawings. Exh. cat., Nottingham University Art Gallery. Nottingham, 1969, unpaginated, under no. 11.
Fiorella Minervino in L'opera completa di Degas. Milan, 1970, pp. 96–97, no. 240, ill.
Mark Roskill. Van Gogh, Gauguin, and the Impressionist Circle. Greenwich, Conn., 1970, p. 128, pl. 101, dates it about 1866–67 and compares it to Gauguin's "Portrait of Van Gogh Painting Sunflowers" (1888; Van Gogh Museum, Amsterdam).
Richard Ormond. John Singer Sargent: Paintings, Drawings, Watercolors. New York, 1970, p. 20, compares it to Sargent's "Madame Ramón Subercaseaux" (1880, Señora Amalia Barros de Griffin, Santiago).
Theodore Reff in From Realism to Symbolism: Whistler and His World. Exh. cat., Wildenstein. New York, 1971, p. 28, states that Degas's interest in Japanese art first appears in this picture.
John Walsh Jr. Portrait of the Artist. Exh. cat., The Metropolitan Museum of Art. New York, 1972, p. 14, no. 22, remarks that it is uncertain if this picture represents Degas's or Tissot's studio.
Theodore Reff. "Degas's 'Tableau de Genre'." Art Bulletin 54 (September 1972), p. 331.
John Rewald. The History of Impressionism. 4th rev. ed. New York, 1973, p. 207, ill. p. 176.
Charles S. Moffett in Impressionism: A Centenary Exhibition. Exh. cat., The Metropolitan Museum of Art. New York, 1974, pp. 76–79, no. 11, ill. (color) [French ed., "Centenaire de l'impressionnisme," Éditions des musées nationaux, Paris, 1974], calls it "Jacques Joseph (James) Tissot" and dates it about 1866–68.
Edith Hoffmann. "Impressionists at the Grand Palais." Burlington Magazine 116 (November 1974), p. 699.
Denny Carter. "A Symbolist Portrait by Edmond Aman-Jean." Bulletin of the Cleveland Museum of Art 62 (January 1975), pp. 6, 10 nn. 9, 10, fig. 8, dates it about 1866 and compares it to Aman-Jean's "Portrait of a Woman (Meditation)" (about 1891; Cleveland Museum of Art).
Theodore Reff. Degas, The Artist's Mind. [New York], 1976, pp. 28, 90, 98, 101, 103–7, 110, 138, 140, 144–45, 223–24, 307 n. 44, p. 319 n. 177, figs. 68, 69, 71, 73, 75 (overall and details).
Theodore Reff. The Notebooks of Edgar Degas: A Catalogue of the Thirty-Eight Notebooks in the Bibliothèque Nationale and Other Collections. Oxford, 1976, vol. 1, pp. 108 (notebook 21, p. 6v), 110–11 (notebook 22, p. 31), catalogues two studies for this picture, one a thumbnail sketch and the other a drawing of the figure's torso and right arm; illustrates both in vol. 2.
Theodore Reff. "Degas: A Master among Masters." Metropolitan Museum of Art Bulletin 34 (Spring 1977), p. , fig. 15 (color).
Thomas B. Hess. "Communicating Degas." New York Magazine (March 28, 1977), p. 74.
Frank Whitford. Japanese Prints and Western Painters. New York, 1977, p. 150, pl. 87.
Eduard Hüttinger. Degas. New York, 1978, p. 41, ill. p. 16 (color).
Michael Justin Wentworth Minneapolis Institute of Arts. James Tissot: Catalogue Raisonné of his Prints. Minneapolis, 1978, p. 48, under no. 5, fig. 5a, compares the composition to Tissot's "Portrait of Mlle L.L." (1864; Musée d'Orsay) and the sitter's pose to his "Marguerite à l'église" (about 1861; National Gallery of Ireland, Dublin).
Charles S. Moffett. Degas: Paintings in The Metropolitan Museum of Art. New York, 1979, pp. 7–8, colorpl. 9, dates it 1866–68.
Ian Dunlop. Degas. New York, 1979, p. 57, pl. 51, dates it 1866–68 in the text and 1868 in the caption.
Ian Thomson. "Tissot and Oxford." Oxford Art Journal 2 (April 1979), pp. 54–55.
Christopher Lloyd and Anne Distel in Pissarro. Exh. cat., Hayward Gallery. London, 1980, p. 104, under no. 38.
T[heodore]. R[eff]. in Gabriel P. Weisberg. The Realist Tradition: French Painting and Drawing, 1830–1900. Exh. cat., Cleveland Museum of Art. Cleveland, 1980, p. 175, under no. 149.
Eugénie de Keyser. Degas: Réalité et métaphore. Louvain-la-Neuve, 1981, pp. 50, 104.
Jacques Dufwa. Winds from the East: A Study in the Art of Manet, Degas, Monet and Whistler 1856–86. Stockholm, 1981, pp. 89–95, 104, 115, 187, 203 nn. 22, 26, fig. 70, asserts that the cutting and overlapping of the pictures within this painting borrow from the asymmetrical perspectives found in Japanese art; interprets these pictures as references to the creativity of the artist and finds similarities to the Japanese "use of chance to show how the theme appears to our eyes at a given moment".
Bogomila Welsh-Ovcharov. Vincent van Gogh and the Birth of Cloisonism. Exh. cat., Art Gallery of Ontario. Toronto, 1981, p. 110, under no. 8.
Susan Koslow. "Two Sources for Vincent van Gogh's 'Portrait of Armand Roulin': A Character Likeness and a Portrait Schema." Arts Magazine 56 (September 1981), pp. 159, 163 n. 36, fig. 4, calls the copy of a Cranach portrait within this picture a symbolic and literal father figure for Tissot and Degas.
Keith Roberts. Degas. rev., enl. ed. [1st ed., 1976]. Oxford, 1982, unpaginated, colorpl. 7, dates it 1868.
Michael Wentworth. James Tissot. Oxford, 1984, pp. 49, 59, pl. 37, compares it to Tissot's "Self-Portrait" (about 1865; California Palace of the Legion of Honor, San Francisco).
Roy McMullen. Degas: His Life, Times, and Work. Boston, 1984, pp. 134, 145.
Charles F. Stuckey in Degas: Form and Space. Ed. Maurice Guillaud. Exh. cat., Centre Culturel du Marais. Paris, 1984, pp. 20, 60 n. 38, fig. 67 (color).
Michael Wentworth in James Tissot. Ed. Krystyna Matyjaszkiewicz. Exh. cat., Barbican Art Gallery, London. Oxford, 1984, pp. 12–14, 16–17, 94 n. 2, under no. 2, fig. 1, describes this picture as a series of paradoxes, portraying "Tissot's public pose as a dandy and boulevardier" while allowing a "glimpse beneath the surface to the troubled world of anxieties and contradictions that marked the man himself and formed the basis of his art".
Krystyna Matyjaszkiewicz in James Tissot. Ed. Krystyna Matyjaszkiewicz. Exh. cat., Barbican Art Gallery Gallery, London. Oxford, 1984, p. 100, mentions that the picture depicted on the easel at the right of this work is similar to Tissot's "Dejeuner sur l'herbe" (cat. no. 15, Goldschmidt collection) [see also Ref. Reff 1968].
Charles S. Moffett. Impressionist and Post-Impressionist Paintings in The Metropolitan Museum of Art. New York, 1985, pp. 56, 58–59, 250, ill. in color (overall and detail).
Richard Thomson in "Notes on Degas's Sense of Humour." Degas 1834–1984. Ed. Richard Kendall. Manchester, 1985, p. 10, dates it about 1866–68; notes that Degas changed the sitter's pose from the preparatory drawing (Fogg Art Museum) in order to better reveal Tissot's character.
Melissa McQuillan. Impressionist Portraits. London, 1986, pp. 60–61, ill. (color).
Richard Thomson. The Private Degas. Exh. cat., Whitworth Art Gallery, Manchester. London, 1987, pp. 26–27, fig. 23.
John Milner. The Studios of Paris: The Capital of Art in the Late Nineteenth Century. New Haven, 1988, p. 33, pl. 35.
Michael Pantazzi in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 249, 263.
Henri Loyrette in Degas. Exh. cat., Galeries Nationales du Grand Palais, Paris. New York, 1988, pp. 105, 112, 124, 128, 130–32, 142, no. 75, ill. (color), calls it "James Tissot" and dates it 1867–68; asserts that the setting is not any particular artist's studio, interpreting the pictures within the picture as references to Tissot's eclectic artistic production; finds similarities between the figure of Pharaoh's daughter in the Finding of Moses canvas and the title figure in Degas's "Mlle Fiocre in the Ballet 'La Source'" (1867–68; Brooklyn Museum, New York); considers the stern visage of Frederick the Wise in the Cranach copy to represent a warning to Tissot about the precariousness of becoming a fashionable artist.
Barbara Scott. "The Triumph of Degas." Apollo 127 (April 1988), p. 282.
Eunice Lipton. "Anxiety at the Met." Artforum 27 (October 1988), p. 102, ill., calls it "James Tissot in an Artist's Studio".
Henri Loyrette. "Degas entre Gustave Moreau et Duranty. Notes sur les portraits 1859–1876." Revue de l'art no. 86 (1989), pp. 20, 22–23, fig. 16.
"Lettres de Degas provenant de fonds divers." Degas inédit. Paris, 1989, p. 357.
Henri Loyrette. Degas. Paris, 1991, pp. 187, 205, 216, 220, ill.
Carol Armstrong. Odd Man Out: Readings of the Work and Reputation of Edgar Degas. Chicago, 1991, pp. 103–4, 140, fig. 50.
Patrick Bade. Degas. London, 1991, pp. 62–63, ill. (color), calls it "James Tissot in an Artist's Studio".
Anne Higonnet. Berthe Morisot's Images of Women. Cambridge, Mass., 1992, pp. 125–27, 292, fig. 42, calls it "Portrait of the Painter James Tissot" and dates it 1868.
Henri Loyrette. Degas: The Man and His Art. New York, 1993, pp. 38–39, ill. (color detail).
Henri Loyrette in Origins of Impressionism. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 204, 222–23, 296, 370–72, 374–75, 463, no. 62, fig. 227 (color) and ill. pp. 182 (color detail), 374 (overall) [French ed., Paris, 1994, pp. 203, 219, 222–23, 296, 369–70, 373, 461, fig. 277 (color), ill. pp. 182, 373].
Jean Sutherland Boggs in Degas Portraits. Exh. cat., Kunsthaus Zürich. London, 1994, p. 24.
Marianne Karabelnik in Degas Portraits. Exh. cat., Kunsthaus Zürich. London, 1994, p. 255.
Emil Maurer in Degas Portraits. Exh. cat., Kunsthaus Zürich. London, 1994, pp. 100, 106, ill. p. 107, notes that Degas's implicit criticism of his sitter is "discernible only at a second glance".
Barbara Stern Shapiro in Degas Portraits. Exh. cat., Kunsthaus Zürich. London, 1994, p. 141.
Linda Nochlin in Colin B. Bailey. Renoir's Portraits: Impressions of an Age. Exh. cat., National Gallery of Canada, Ottawa. New Haven, 1997, pp. 60–62, 100, 271 n. 15, compares it to Renoir's "Frédéric Bazille Painting 'The Heron'" (1867; Musée d'Orsay, Paris).
Colta Ives in The Private Collection of Edgar Degas. Exh. cat., The Metropolitan Museum of Art. New York, 1997, pp. 248–49, fig. 333 (color), notes that the Japanese themed picture within this painting is similar to the type painted by Tissot.
Carol Vogel. "Inside Art: Tracing Degas's Taste." New York Times (February 21, 1997), p. C21, ill. (detail).
Dianne W. Pitman. Bazille: Purity, Pose, and Painting in the 1860s. University Park, 1998, pp. 145, 156, fig. 92.
Important 19th Century European Paintings, Drawings and Sculpture. Sotheby's, New York. November 3, 1999, p. 136, fig. 1.
John House in Sona Johnston. Faces of Impressionism: Portraits from American Collections. Exh. cat., Baltimore Museum of Art. New York, 1999, pp. 12, 19.
Sona Johnston and Susan Bollendorf in Faces of Impressionism: Portraits from American Collections. Ed. Sona Johnston. Exh. cat., Baltimore Museum of Art. New York, 1999, p. 88, no. 25, ill. in color, frontispiece and p. 89 (detail and overall), date it about 1866–68.
Frances Fowle in Degas and America: The Early Collectors. Exh. cat., High Museum of Art. Atlanta, 2000, p. 124.
Claire I. R. O'Mahony in Degas and America: The Early Collectors. Exh. cat., High Museum of Art. Atlanta, 2000, pp. 126–27, no. 22, ill. (color), dates it about 1867–68.
Phaedra Siebert in Degas and America: The Early Collectors. Exh. cat., High Museum of Art. Atlanta, 2000, p. 249.
David A. Brenneman in Degas and America: The Early Collectors. Exh. cat., High Museum of Art. Atlanta, 2000, p. 57, ill. p. 47 (color detail).
Sylvie Patry in Berthe Morisot, 1841–1895. Exh. cat., Palais des Beaux-Arts de Lille. Martigny, 2002, p. 29, fig. 6.
Petra Buschhoff-Leineweber in Edouard Manet und die Impressionisten. Exh. cat., Staatsgalerie Stuttgart. Stuttgart, 2002, pp. 167–68, 177 n. 72, fig. 201.
Gary Tinterow in Gary Tinterow and Geneviève Lacambre. Manet/Velázquez: The French Taste for Spanish Painting. Exh. cat., Musée d'Orsay, Paris. New York, 2003, pp. 56, 474–75, no. 105, fig. 1.59 (color) and ill. p. 474, asserts that this picture depicts Tissot's studio, noting that the Japanese themed canvas and the one on the easel have been recently identified as works by Tissot; suggests that Tissot also painted the copy of the Cranach portrait; compares the composition and the sense of having captured the artist pausing for a single moment with Velázquez's "Las Meninas" (1656; Museo del Prado, Madrid).
Fiorella Minervino in Degas: Classico e moderno. Ed. Maria Teresa Benedetti. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2004, p. 60, fig. 6.
Gary Tinterow and Asher Ethan Miller in The Wrightsman Pictures. Ed. Everett Fahy. New York, 2005, p. 400.
Vanessa Gavioli in Degas. English ed. [1st ed., Milan, 2003]. New York, 2005, pp. 82–83, 180, ill. (color and black and white).
Alexander Sturgis in Rebels and Martyrs: The Image of the Artist in the Nineteenth Century. Exh. cat., National Gallery. London, 2006, pp. 126–27, no. 43, ill. (color), remarks that none of the pictures within the painting are by Tissot and notes that each historical picture is "paired with its 'modern' equivalent—the final pairing being between the Cranach and Degas's portrait itself".
Jill DeVonyar and Richard Kendall. Degas and the Art of Japan. Exh. cat., Reading Public Museum. Reading, Pa., 2007, pp. 16, 99 n. 40, fig. 11 (color), compare the large horizontal canvas in the background to Utamaro's woodblock print triptych "The Cultivation of Brocade Prints, A Famous Product of Edo".
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. 96–97, 206–7, no. 66, ill. (color and black and white) and fig. 12 (installation photo).